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Combining apocalyptic fiction with straight-up horror, the books hop around in time—well, I say \"hop\"—they \u003cem>long-jump\u003c/em> around in time, from the near-future, when a secret team of government scientists attempts to develop a formula that will render humanity immune to disease, to 1,000 years hence, long after \u003cem>that \u003c/em>bright idea has borne its inevitable, nasty, blood-sucking fruit: vampires called \"virals\" that have wiped out most of the world.\u003c/p>\n\u003cp>It's pulpy going, sure—part \u003cem>I Am Legend\u003c/em>, part \u003cem>The Walking Dead\u003c/em>, part \u003cem>The Stand\u003c/em>—but all those familiar, pulpy components cohere into something hugely satisfying, because Cronin is so good at establishing the vastness of the world he creates: shocks and twists abound, characters thought dead return after looooong absences, and there's a palpable sense of humanity's enduring legacy—its triumphs and missteps—on a planet where only a hardy few huddle together in far-flung outposts.\u003c/p>\n\u003cp>It's \u003cem>big\u003c/em>, in other words. Vast.\u003c/p>\n\u003cp>But the new FOX series \u003cem>The Passage\u003c/em>—named for the first book in Cronin's trilogy, but based, we are assured, on all three of them—isn't. At least, not yet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6rJ64J-gSbY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the first three episodes made available to press, the series boasts strong performances, agreeably hokey dialogue you'll likely be able to mouth along with the actors, too-brief but sorely needed flashes of humor, and characters who say and do some very, \u003cem>very \u003c/em>stupid things only because the plot demands them to. (The laws of idiotic cause and effect in \u003cem>The Passage\u003c/em>'s universe dictate: If there's a cage with a monster inside it, some idiot will dutifully open said cage.)\u003c/p>\n\u003cp>What \u003cem>The Passage\u003c/em> doesn't feature a lot of, at least at this early stage, is a definable sense of menace, or any real inkling of the (much, much) wider story that Cronin's trilogy encompasses.\u003c/p>\n\u003cp>Which is fine, as far as it goes. Those who have read the books know what's coming; those who haven't will just have to content themselves with the ominous voiceover supplied by the show's breakout star, young Saniyya Sidney. Assured and charismatic, Sidney plays Amy, the girl who may or may not hold the key to humanity's survival—which is why the show's various factions spend these first few episodes fighting over her.\u003c/p>\n\u003cfigure id=\"attachment_108596\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108596\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg\" alt=\"Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basically: The secret cabal of scientists wants to inject Amy with their formula, which causes their best agent (Mark-Paul Gosselaar) to rebel against his orders and take her on the lam.\u003c/p>\n\u003cp>The series devotes much of its running time, in the first three episodes, to establishing the bond between Amy and Gosselaar's Agent Wolgast, which makes sense—any show with this many high-concept trappings needs a believable human relationship or two to provide emotional ballast. But those scenes, as appealing as they are, mean that the show has to work harder to convince us that the \"virals\"—previously injected humans who harbor the vamp-virus, kept prisoner by the scientists—pose a clear, present and growing danger.\u003c/p>\n\u003cp>\u003cem>The Passage\u003c/em> sets about this crucial task by employing that aformentioned voiceover, by having various characters mutter vague presentiments (\"Something is coming,\" one whispers, \"and it's not good\") and by having the various virals enter the dreams of the facility's staffers, the way that Big Bads on serialized action/horror shows are so wont to do.\u003c/p>\n\u003cp>The series attempts to generate a sense of dread by keeping its Biggest Bad in its back pocket, early on. Played by James McShane, the lead viral-vamp has a name—Tim Fanning—that doesn't so much evoke blood-curdling terror as it does the desire to call your local dealership to schedule a tune-up. McShane does what he can, but the precious screen time he's allotted isn't enough to establish him as much more than a pale guy with bad skin sitting in a cell, biding his time.\u003c/p>\n\u003cfigure id=\"attachment_108594\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108594\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg\" alt=\"Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time. \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers' go-to scare tactic—having McShane, or one of his fellow virals, suddenly grimace and hiss—doesn't pack quite the punch they want it to. The show's over-reliance on it in these early episodes might leave viewers who haven't read the books wondering if there's enough here to keep them watching.\u003c/p>\n\u003cp>There \u003cem>is\u003c/em> more, of course, much more—in the books at least: shocks, to be sure. But they also serve up something larger, deeper and more enduring: fleeting flickers of hope amid the soul-crushing hopelessness of the end of the world.\u003c/p>\n\u003cp>The FOX series isn't there yet, and given its slow-burn pacing, likely won't get there for a season or two. Given the constraints of television production schedules, and production budgets, it may never manage to convey the yawning horror the books so effectively evoke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe it doesn't have to. Maybe it will seek instead to downsize the books' epic conflicts, and their huge cast of characters, to fit the television screen. It's a worthy endeavor, focusing on intimate human relationships amid the spectacular fall of civilization. But for it to work in the long run, \u003cem>The Passage \u003c/em>will need to start balancing the strength of the bond between its two principals with a clearer, stronger sense of the real horror they're facing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Passage%27+Keeps+Its+Viral+Vamps+Waiting+In+The+Wings%2C+For+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This FOX series based on the Justin Cronin trilogy combines the pulpiest elements of science-gone-awry thrillers with shlocky creature-features.","status":"publish","parent":0,"modified":1547495004,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":988},"headData":{"title":"Part ‘Walking Dead,’ Part ‘I Am Legend,’ ‘The Passage’ is Coming to FOX | KQED","description":"This FOX series based on the Justin Cronin trilogy combines the pulpiest elements of science-gone-awry thrillers with shlocky creature-features.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"108593 https://ww2.kqed.org/pop/?p=108593","disqusUrl":"https://ww2.kqed.org/pop/2019/01/14/part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox/","disqusTitle":"Part ‘Walking Dead,’ Part ‘I Am Legend,’ ‘The Passage’ is Coming to FOX","nprImageCredit":"Eliza Morse","nprByline":"Glen Weldon","nprImageAgency":"FOX","nprStoryId":"683668312","nprApiLink":"http://api.npr.org/query?id=683668312&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/01/14/683668312/the-passage-keeps-its-viral-vamps-waiting-in-the-wings-for-now?ft=nprml&f=683668312","nprRetrievedStory":"1","nprPubDate":"Mon, 14 Jan 2019 13:38:00 -0500","nprStoryDate":"Mon, 14 Jan 2019 05:00:19 -0500","nprLastModifiedDate":"Mon, 14 Jan 2019 13:38:16 -0500","path":"/pop/108593/part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best-selling trilogy of novels by Justin Cronin—\u003cem>The Passage, The Twelve\u003c/em> and \u003cem>The City of Mirrors\u003c/em>—collectively form an epic tale, sweeping in scope. Combining apocalyptic fiction with straight-up horror, the books hop around in time—well, I say \"hop\"—they \u003cem>long-jump\u003c/em> around in time, from the near-future, when a secret team of government scientists attempts to develop a formula that will render humanity immune to disease, to 1,000 years hence, long after \u003cem>that \u003c/em>bright idea has borne its inevitable, nasty, blood-sucking fruit: vampires called \"virals\" that have wiped out most of the world.\u003c/p>\n\u003cp>It's pulpy going, sure—part \u003cem>I Am Legend\u003c/em>, part \u003cem>The Walking Dead\u003c/em>, part \u003cem>The Stand\u003c/em>—but all those familiar, pulpy components cohere into something hugely satisfying, because Cronin is so good at establishing the vastness of the world he creates: shocks and twists abound, characters thought dead return after looooong absences, and there's a palpable sense of humanity's enduring legacy—its triumphs and missteps—on a planet where only a hardy few huddle together in far-flung outposts.\u003c/p>\n\u003cp>It's \u003cem>big\u003c/em>, in other words. Vast.\u003c/p>\n\u003cp>But the new FOX series \u003cem>The Passage\u003c/em>—named for the first book in Cronin's trilogy, but based, we are assured, on all three of them—isn't. At least, not yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6rJ64J-gSbY'\n title='//www.youtube.com/embed/6rJ64J-gSbY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the first three episodes made available to press, the series boasts strong performances, agreeably hokey dialogue you'll likely be able to mouth along with the actors, too-brief but sorely needed flashes of humor, and characters who say and do some very, \u003cem>very \u003c/em>stupid things only because the plot demands them to. (The laws of idiotic cause and effect in \u003cem>The Passage\u003c/em>'s universe dictate: If there's a cage with a monster inside it, some idiot will dutifully open said cage.)\u003c/p>\n\u003cp>What \u003cem>The Passage\u003c/em> doesn't feature a lot of, at least at this early stage, is a definable sense of menace, or any real inkling of the (much, much) wider story that Cronin's trilogy encompasses.\u003c/p>\n\u003cp>Which is fine, as far as it goes. Those who have read the books know what's coming; those who haven't will just have to content themselves with the ominous voiceover supplied by the show's breakout star, young Saniyya Sidney. Assured and charismatic, Sidney plays Amy, the girl who may or may not hold the key to humanity's survival—which is why the show's various factions spend these first few episodes fighting over her.\u003c/p>\n\u003cfigure id=\"attachment_108596\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108596\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg\" alt=\"Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basically: The secret cabal of scientists wants to inject Amy with their formula, which causes their best agent (Mark-Paul Gosselaar) to rebel against his orders and take her on the lam.\u003c/p>\n\u003cp>The series devotes much of its running time, in the first three episodes, to establishing the bond between Amy and Gosselaar's Agent Wolgast, which makes sense—any show with this many high-concept trappings needs a believable human relationship or two to provide emotional ballast. But those scenes, as appealing as they are, mean that the show has to work harder to convince us that the \"virals\"—previously injected humans who harbor the vamp-virus, kept prisoner by the scientists—pose a clear, present and growing danger.\u003c/p>\n\u003cp>\u003cem>The Passage\u003c/em> sets about this crucial task by employing that aformentioned voiceover, by having various characters mutter vague presentiments (\"Something is coming,\" one whispers, \"and it's not good\") and by having the various virals enter the dreams of the facility's staffers, the way that Big Bads on serialized action/horror shows are so wont to do.\u003c/p>\n\u003cp>The series attempts to generate a sense of dread by keeping its Biggest Bad in its back pocket, early on. Played by James McShane, the lead viral-vamp has a name—Tim Fanning—that doesn't so much evoke blood-curdling terror as it does the desire to call your local dealership to schedule a tune-up. McShane does what he can, but the precious screen time he's allotted isn't enough to establish him as much more than a pale guy with bad skin sitting in a cell, biding his time.\u003c/p>\n\u003cfigure id=\"attachment_108594\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108594\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg\" alt=\"Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time. \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers' go-to scare tactic—having McShane, or one of his fellow virals, suddenly grimace and hiss—doesn't pack quite the punch they want it to. The show's over-reliance on it in these early episodes might leave viewers who haven't read the books wondering if there's enough here to keep them watching.\u003c/p>\n\u003cp>There \u003cem>is\u003c/em> more, of course, much more—in the books at least: shocks, to be sure. But they also serve up something larger, deeper and more enduring: fleeting flickers of hope amid the soul-crushing hopelessness of the end of the world.\u003c/p>\n\u003cp>The FOX series isn't there yet, and given its slow-burn pacing, likely won't get there for a season or two. Given the constraints of television production schedules, and production budgets, it may never manage to convey the yawning horror the books so effectively evoke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe it doesn't have to. Maybe it will seek instead to downsize the books' epic conflicts, and their huge cast of characters, to fit the television screen. It's a worthy endeavor, focusing on intimate human relationships amid the spectacular fall of civilization. But for it to work in the long run, \u003cem>The Passage \u003c/em>will need to start balancing the strength of the bond between its two principals with a clearer, stronger sense of the real horror they're facing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Passage%27+Keeps+Its+Viral+Vamps+Waiting+In+The+Wings%2C+For+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/108593/part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox","authors":["byline_pop_108593"],"categories":["pop_3"],"tags":["pop_860","pop_3414","pop_3413","pop_3412","pop_1512","pop_864"],"featImg":"pop_108597","label":"pop"},"pop_104874":{"type":"posts","id":"pop_104874","meta":{"index":"posts_1591205157","site":"pop","id":"104874","score":null,"sort":[1533680430000]},"guestAuthors":[],"slug":"how-to-be-a-woman-in-the-fictional-apocalypse","title":"How to Be a Woman in the Apocalypse (According to Male-Dominated Movies)","publishDate":1533680430,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Post-apocalyptic movies have been a pop culture staple since Charlton Heston first found a disembodied Lady Liberty on the shoreline, and screamed “\u003ca href=\"https://www.youtube.com/watch?v=XvuM3DjvYf0\">God damn you all to hell!\u003c/a>” at the end of \u003cem>Planet of the Apes\u003c/em> (1967). It’s a famous scene, but one that people have a tendency to recall incorrectly — Heston’s George Taylor isn’t, in fact, alone on that beach. What we so often forget is that standing behind him — silent, expressionless, unmoving — is Nova, a beautiful, bikini-clad woman, who contributes literally nothing to the movie’s big climax despite being \u003cem>right there\u003c/em>.\u003c/p>\n\u003cp>Nova is symbolic of a larger problem that befalls female characters across movie genres but is particularly maddening within the context of this kind of dramatic action. Sure, Nova is mute, but why doesn’t she have any physical reaction at all when her companion is pounding his fists into the sand and wailing at the sky? Did the director, like the rest of us, forget she was there? And when it comes to cinema, when it’s the end of the world, do women get to do anything other than stand around and look pretty?\u003c/p>\n\u003cp>We looked at 10 post-apocalyptic movies to find out... (\u003cem>Warning: This article contains an absurd amount of spoilers.)\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>I Am Legend (2007)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ewpYq9rgg3w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a cancer-curing vaccine wipes out humanity, the only person left in Manhattan — apart from roaming gangs of super-fast vampire-zombies, of course — is Robert Neville (Will Smith). That is until a female survivor named Anna shows up. If Anna is to be your apocalyptic role model, then the key to survival is to be as unintentionally infuriating as possible. Feel free to invade other people’s freezers and eat the bacon they’ve been saving for months on end. Be sure to take no precautions on your way home in order to lead a city full of monsters to what was previously a safe haven. And — if you really want to prompt other survivors to tear their own hair out — deny any and all knowledge of Bob Marley. Using these deeply aggravating techniques, Anna ultimately outlives Robert, and gets his vaccine to a settlement of survivors. Everyone will hate you, but you'll be alive.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>This Is The End (2013)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yma-g4gTwlE\u003c/p>\n\u003cp>Hilarious nonsense aside, women get a grand total of about 10 minutes of screen time out of a possible hour and 40 minutes here. Even Rihanna and Mindy Kaling get thrown down a sinkhole to hell within the first 20 minutes. The only guide women have for potential survival is an ax-wielding Emma Watson, who, fearing for her personal safety in a house full of dudes, takes it upon herself to steal all of the guys’ supplies and boldly make a run for it. (“Hermione just stole all of our shit,” grumbles Danny McBride.) At the climax of \u003cem>This is the End\u003c/em>, Watson’s fate remains unknown, but there is a lesson to be learned here: Sometimes hellfire and demons outside in the world are safer than six dude-bros inside a house.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>World War Z (2013)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Md6Dvxdr0AQ\u003c/p>\n\u003cp>Zombies have taken over the world and it’s the job of Jerry Lane (Brad Pitt) to stop it, alongside a whole mess of other dudes. Our token women this time are an Israeli soldier named Segen, who sees an admirable amount of action but loses an arm in the process, and Jerry’s wife, who spends almost the entire movie on a UN ship with their two children, staring at ceilings and waiting by the phone. Pick one according to preference. And no, there is nothing more sensible in between.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mad Max (1979)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=caHnaRq8Qlg\u003c/p>\n\u003cp>In post-world-war Australia, after almost total depletion of the Earth’s oil supply, and with the planet ravaged by drought, financial ruin and chaos, the best option for you as a woman is either (a) being old, wearing an apron and owning a shotgun, or (b) being a singer. Even the roughest of the motorcycle gangs are placated by the sound of \u003ca href=\"https://www.youtube.com/watch?v=wiFAXI8JeWU\">Robina Chaffey singing\u003c/a>, which is nice because, for the majority of other women in this movie, the chances of being sexually abused or killed are reasonably high. After all, the entire crux of the plot rests on a man being motivated to seek revenge after the murder of his wife and son. (Don’t you just love it when the abuse of women is used mostly as a plot point for men?)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mad Max: Fury Road (2015)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hEJnMQG9ev8\u003c/p>\n\u003cp>Okay, so let’s be clear: No one is having a good time in \u003ca href=\"https://www.imdb.com/title/tt1392190/?ref_=fn_al_tt_1\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> (except for maybe \u003ca href=\"https://www.youtube.com/watch?v=ozmjV_VLYyo\">flaming-guitarist-on-a-bungee-chord guy\u003c/a>), but, like the 1979 original, the abuse of women is still the thing that drives most of the plot. Despite that, \u003cem>Fury Road\u003c/em> carries one of the most important post-apocalyptic lessons of all: Women who stick together and support each other have a much better chance of survival on their own terms. Plus, Charlize Theron’s Furiosa — undoubtedly one of the most badass female characters in recent memory — also acts as a practical, but aesthetically pleasing role model when it comes to What To Wear When The World Ends. Grease up that shaved head, ladies. Grease it all up.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Road (2009)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bO8EqMsxOiU\u003c/p>\n\u003cp>In the dying Earth of \u003ca href=\"https://www.imdb.com/title/tt0898367/?ref_=nv_sr_1\">\u003cem>The Road\u003c/em>,\u003c/a> there are almost no women left. Of those that do show up, we get a wizened old cannibal granny in a house of men; a couple of naked, half-dead women in a basement full of starving humans; a nice mom lady who’s on screen for about three seconds; a crying woman with an accidentally murdered husband; and a very depressed — and then very dead — wife. With those kinds of options, and seeing how far beyond miserable life is for \u003cem>everyone\u003c/em> in \u003cem>The Road, \u003c/em>let’s just say there are no good options here at all. Unless you want to eat people, which we would strongly advise against. Obviously.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Day After Tomorrow (2004)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ku_IseK3xTc\u003c/p>\n\u003cp>Congratulations, ladies! The apocalypse has barely begun in \u003ca href=\"https://www.imdb.com/title/tt0319262/?ref_=nv_sr_1\">\u003cem>The Day After Tomorrow,\u003c/em> \u003c/a>and you \u003cem>still\u003c/em> hardly exist! The government is made up of men, the climatologists are men, and the students are men, except for Jake Gyllenhaal’s love interest, played by Emmy Rossum. Gyllenhaal’s mom shows up as a pediatrician, and there is a female meteorologist (praise be!), but the female-to-male ratio is pretty dire, and the ultimate lesson is pretty clear: If you want to survive a climate disaster, be a man’s mother or girlfriend.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Zombieland (2009)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8m9EVP8X7N8\u003c/p>\n\u003cp>Little Rock (Abigail Breslin) and Wichita (Emma Stone) are savvy thieves and tricksters who have survived the zombie apocalypse because of their smarts, ability to con others and proficiency with weapons. They are initially entirely uninterested in joining forces with the men they meet — a refreshing twist for young, female characters — and only start making stupid decisions (starting up a noisy, brightly lit amusement park, anyone?), once they join forces with Columbus and Tallahassee. The lesson? Stay on your own and stay on the ball.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Days Later (2002)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c7ynwAgQlDQ\u003c/p>\n\u003cp>The first lesson for women in \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0289043/?ref_=nv_sr_1\">28 Days Later\u003c/a> \u003c/em>comes early: Maybe don’t let that really angry monkey out of its cage, no matter how sorry you feel for it. (It \u003cem>will\u003c/em> kill you and then start the apocalypse.) The second is an extraordinarily depressing one: Even when you are a renegade badass that rescues the male hero (Cillian Murphy) and even when you have no qualms about brutally killing people when the situation calls for it, sexual slavery is always looming on the horizon, if you are a woman. Selena and her teenage companion, Hannah, ultimately escape the evil soldiers trying to subjugate them, but damn. This one’s a real bummer.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>10 Cloverfield Lane (2016)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S7vz0O7yzI8\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The protagonist of \u003ca href=\"https://www.imdb.com/title/tt1179933/?ref_=nv_sr_1\">\u003cem>10 Cloverfield Lane\u003c/em>\u003c/a>, Michelle (Mary Elizabeth Winstead) offers a damn near perfect guidebook on how to realistically survive the apocalypse. (Thank you, JJ Abrams!) She knows when to be patient and when to fight, her mind is always working overtime, and she’s crafty enough to make her own hazmat suit and gas mask. Thanks to these factors, as well as taking the time to heal from a physical injury, Michelle ultimately outwits the shady doomsday survivalist who ran her off the road and held her in his bunker. On top of all of that, Michelle shows us that, even when you do finally find out that Earth has been invaded by humanity-destroying aliens, it’s best not to freak out! Just quietly get into the nearest car and bravely head out to find other survivors. You got this!\u003c/p>\n\n","blocks":[],"excerpt":"What lessons can women take from post-apocalyptic movies?","status":"publish","parent":0,"modified":1673554855,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1572},"headData":{"title":"How to Be a Woman in the Apocalypse (According to Male-Dominated Movies) - KQED Pop","description":"What lessons can women take from post-apocalyptic movies?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/pop/104874/how-to-be-a-woman-in-the-fictional-apocalypse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Post-apocalyptic movies have been a pop culture staple since Charlton Heston first found a disembodied Lady Liberty on the shoreline, and screamed “\u003ca href=\"https://www.youtube.com/watch?v=XvuM3DjvYf0\">God damn you all to hell!\u003c/a>” at the end of \u003cem>Planet of the Apes\u003c/em> (1967). It’s a famous scene, but one that people have a tendency to recall incorrectly — Heston’s George Taylor isn’t, in fact, alone on that beach. What we so often forget is that standing behind him — silent, expressionless, unmoving — is Nova, a beautiful, bikini-clad woman, who contributes literally nothing to the movie’s big climax despite being \u003cem>right there\u003c/em>.\u003c/p>\n\u003cp>Nova is symbolic of a larger problem that befalls female characters across movie genres but is particularly maddening within the context of this kind of dramatic action. Sure, Nova is mute, but why doesn’t she have any physical reaction at all when her companion is pounding his fists into the sand and wailing at the sky? Did the director, like the rest of us, forget she was there? And when it comes to cinema, when it’s the end of the world, do women get to do anything other than stand around and look pretty?\u003c/p>\n\u003cp>We looked at 10 post-apocalyptic movies to find out... (\u003cem>Warning: This article contains an absurd amount of spoilers.)\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>I Am Legend (2007)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ewpYq9rgg3w'\n title='//www.youtube.com/embed/ewpYq9rgg3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a cancer-curing vaccine wipes out humanity, the only person left in Manhattan — apart from roaming gangs of super-fast vampire-zombies, of course — is Robert Neville (Will Smith). That is until a female survivor named Anna shows up. If Anna is to be your apocalyptic role model, then the key to survival is to be as unintentionally infuriating as possible. Feel free to invade other people’s freezers and eat the bacon they’ve been saving for months on end. Be sure to take no precautions on your way home in order to lead a city full of monsters to what was previously a safe haven. And — if you really want to prompt other survivors to tear their own hair out — deny any and all knowledge of Bob Marley. Using these deeply aggravating techniques, Anna ultimately outlives Robert, and gets his vaccine to a settlement of survivors. Everyone will hate you, but you'll be alive.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>This Is The End (2013)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Yma-g4gTwlE'\n title='//www.youtube.com/embed/Yma-g4gTwlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hilarious nonsense aside, women get a grand total of about 10 minutes of screen time out of a possible hour and 40 minutes here. Even Rihanna and Mindy Kaling get thrown down a sinkhole to hell within the first 20 minutes. The only guide women have for potential survival is an ax-wielding Emma Watson, who, fearing for her personal safety in a house full of dudes, takes it upon herself to steal all of the guys’ supplies and boldly make a run for it. (“Hermione just stole all of our shit,” grumbles Danny McBride.) At the climax of \u003cem>This is the End\u003c/em>, Watson’s fate remains unknown, but there is a lesson to be learned here: Sometimes hellfire and demons outside in the world are safer than six dude-bros inside a house.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>World War Z (2013)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Md6Dvxdr0AQ'\n title='//www.youtube.com/embed/Md6Dvxdr0AQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Zombies have taken over the world and it’s the job of Jerry Lane (Brad Pitt) to stop it, alongside a whole mess of other dudes. Our token women this time are an Israeli soldier named Segen, who sees an admirable amount of action but loses an arm in the process, and Jerry’s wife, who spends almost the entire movie on a UN ship with their two children, staring at ceilings and waiting by the phone. Pick one according to preference. And no, there is nothing more sensible in between.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mad Max (1979)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/caHnaRq8Qlg'\n title='//www.youtube.com/embed/caHnaRq8Qlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In post-world-war Australia, after almost total depletion of the Earth’s oil supply, and with the planet ravaged by drought, financial ruin and chaos, the best option for you as a woman is either (a) being old, wearing an apron and owning a shotgun, or (b) being a singer. Even the roughest of the motorcycle gangs are placated by the sound of \u003ca href=\"https://www.youtube.com/watch?v=wiFAXI8JeWU\">Robina Chaffey singing\u003c/a>, which is nice because, for the majority of other women in this movie, the chances of being sexually abused or killed are reasonably high. After all, the entire crux of the plot rests on a man being motivated to seek revenge after the murder of his wife and son. (Don’t you just love it when the abuse of women is used mostly as a plot point for men?)\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mad Max: Fury Road (2015)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hEJnMQG9ev8'\n title='//www.youtube.com/embed/hEJnMQG9ev8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so let’s be clear: No one is having a good time in \u003ca href=\"https://www.imdb.com/title/tt1392190/?ref_=fn_al_tt_1\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> (except for maybe \u003ca href=\"https://www.youtube.com/watch?v=ozmjV_VLYyo\">flaming-guitarist-on-a-bungee-chord guy\u003c/a>), but, like the 1979 original, the abuse of women is still the thing that drives most of the plot. Despite that, \u003cem>Fury Road\u003c/em> carries one of the most important post-apocalyptic lessons of all: Women who stick together and support each other have a much better chance of survival on their own terms. Plus, Charlize Theron’s Furiosa — undoubtedly one of the most badass female characters in recent memory — also acts as a practical, but aesthetically pleasing role model when it comes to What To Wear When The World Ends. Grease up that shaved head, ladies. Grease it all up.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Road (2009)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bO8EqMsxOiU'\n title='//www.youtube.com/embed/bO8EqMsxOiU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the dying Earth of \u003ca href=\"https://www.imdb.com/title/tt0898367/?ref_=nv_sr_1\">\u003cem>The Road\u003c/em>,\u003c/a> there are almost no women left. Of those that do show up, we get a wizened old cannibal granny in a house of men; a couple of naked, half-dead women in a basement full of starving humans; a nice mom lady who’s on screen for about three seconds; a crying woman with an accidentally murdered husband; and a very depressed — and then very dead — wife. With those kinds of options, and seeing how far beyond miserable life is for \u003cem>everyone\u003c/em> in \u003cem>The Road, \u003c/em>let’s just say there are no good options here at all. Unless you want to eat people, which we would strongly advise against. Obviously.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Day After Tomorrow (2004)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ku_IseK3xTc'\n title='//www.youtube.com/embed/Ku_IseK3xTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Congratulations, ladies! The apocalypse has barely begun in \u003ca href=\"https://www.imdb.com/title/tt0319262/?ref_=nv_sr_1\">\u003cem>The Day After Tomorrow,\u003c/em> \u003c/a>and you \u003cem>still\u003c/em> hardly exist! The government is made up of men, the climatologists are men, and the students are men, except for Jake Gyllenhaal’s love interest, played by Emmy Rossum. Gyllenhaal’s mom shows up as a pediatrician, and there is a female meteorologist (praise be!), but the female-to-male ratio is pretty dire, and the ultimate lesson is pretty clear: If you want to survive a climate disaster, be a man’s mother or girlfriend.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Zombieland (2009)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8m9EVP8X7N8'\n title='//www.youtube.com/embed/8m9EVP8X7N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Little Rock (Abigail Breslin) and Wichita (Emma Stone) are savvy thieves and tricksters who have survived the zombie apocalypse because of their smarts, ability to con others and proficiency with weapons. They are initially entirely uninterested in joining forces with the men they meet — a refreshing twist for young, female characters — and only start making stupid decisions (starting up a noisy, brightly lit amusement park, anyone?), once they join forces with Columbus and Tallahassee. The lesson? Stay on your own and stay on the ball.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>28 Days Later (2002)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/c7ynwAgQlDQ'\n title='//www.youtube.com/embed/c7ynwAgQlDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first lesson for women in \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0289043/?ref_=nv_sr_1\">28 Days Later\u003c/a> \u003c/em>comes early: Maybe don’t let that really angry monkey out of its cage, no matter how sorry you feel for it. (It \u003cem>will\u003c/em> kill you and then start the apocalypse.) The second is an extraordinarily depressing one: Even when you are a renegade badass that rescues the male hero (Cillian Murphy) and even when you have no qualms about brutally killing people when the situation calls for it, sexual slavery is always looming on the horizon, if you are a woman. Selena and her teenage companion, Hannah, ultimately escape the evil soldiers trying to subjugate them, but damn. This one’s a real bummer.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>10 Cloverfield Lane (2016)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S7vz0O7yzI8'\n title='//www.youtube.com/embed/S7vz0O7yzI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The protagonist of \u003ca href=\"https://www.imdb.com/title/tt1179933/?ref_=nv_sr_1\">\u003cem>10 Cloverfield Lane\u003c/em>\u003c/a>, Michelle (Mary Elizabeth Winstead) offers a damn near perfect guidebook on how to realistically survive the apocalypse. (Thank you, JJ Abrams!) She knows when to be patient and when to fight, her mind is always working overtime, and she’s crafty enough to make her own hazmat suit and gas mask. Thanks to these factors, as well as taking the time to heal from a physical injury, Michelle ultimately outwits the shady doomsday survivalist who ran her off the road and held her in his bunker. On top of all of that, Michelle shows us that, even when you do finally find out that Earth has been invaded by humanity-destroying aliens, it’s best not to freak out! Just quietly get into the nearest car and bravely head out to find other survivors. You got this!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104874/how-to-be-a-woman-in-the-fictional-apocalypse","authors":["11242"],"categories":["pop_51"],"tags":["pop_860"],"featImg":"pop_104975","label":"pop"},"pop_96146":{"type":"posts","id":"pop_96146","meta":{"index":"posts_1591205157","site":"pop","id":"96146","score":null,"sort":[1505395833000]},"guestAuthors":[],"slug":"just-fyi-the-bible-says-the-apocalypse-might-be-happening-this-month","title":"Just FYI: The Bible Says the Apocalypse Might be Happening This Month","publishDate":1505395833,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>The Sign\u003c/em>, a documentary directed, shot and produced by Josh Turnbow and Robert Dvoran and set to air Thursday, addresses whether the end of days is coming this month, as some biblical literalists predict.\u003c/p>\n\u003cp>The \"sign\" in the title refers to an alignment in the sky peaking on Sept. 23, whereby Mercury, Venus, Mars, and Jupiter will be around the constellations of Virgo and Leo, together with the sun and moon. Sept. 23 is when Jupiter leaves Virgo after being there for a while.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.biblegateway.com/passage/?search=Revelation+12\">Revelation 12\u003c/a>, some say, this is when the end comes, after much turmoil and destruction:\u003c/p>\n\u003cblockquote>\u003cp>\"A great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. She was pregnant and cried out in pain as she was about to give birth. Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads. Its tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born. She gave birth to a son, a male child, who \"will rule all the nations with an iron scepter.\" And her child was snatched up to God and to his throne.\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-96160 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/09/giphy-1.gif\" alt=\"\" width=\"500\" height=\"274\">\u003c/p>\u003c/blockquote>\n\u003cp>According to the biblical literalists interviewed in \u003cem>The Sign\u003c/em>, airing Sept. 14 at 8 p.m. ET/PT, the \"son\" leaving the birth canal is Jupiter leaving Virgo. The red dragon is associated by some literalists with Planet X, a planet (wrongly) conjectured to orbit the sun about 90 times more distant than Earth, which, the literalists say, comes every so often to create havoc.\u003c/p>\n\u003cp>To make a long story short, many biblical literalists affirm with utmost conviction in the documentary that Sept. 23 is it — the day the end comes as prophesied in Revelation. A preview of the film can be watched \u003ca href=\"https://www.youtube.com/watch?v=Sx7J1ErEqOc\">here\u003c/a>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sx7J1ErEqOc\u003c/p>\n\u003cp>Fortunately, the documentary doesn't only present this version of the story. Michael Shermer, author and editor of \u003ca href=\"https://www.skeptic.com\">Skeptic\u003c/a> magazine is there, too, to make sense of the nonsense. And so are Ed Krupp, director of the \u003ca href=\"http://www.griffithobservatory.org/about/griffithobservatory.html\">Griffith Observatory\u003c/a>, and \u003ca href=\"https://www.konstantinbatygin.com/\">Konstantin Batygin\u003c/a>, an assistant professor of astronomy at Caltech. Together, they explain the scientific arguments against such fears, including the fact that there is no Planet X. Any such planet, given its elongated orbit and large mass, would have caused major instabilities in the solar system, including ejecting the Earth from its place around the sun. Given that Earth has been orbiting the sun for 4.5 billion years, its orbit is pretty stable so far. There is no such planet.\u003c/p>\n\u003cp>Watching the documentary, what I find most striking is the strength of the literalists' conviction. What will they say on Sept. 23 when the world remains where it is? Surely, as Shermer mentions, Trump may do something, or North Korea. But isn't it always the case that there will be turmoil somewhere in the world — and this turmoil may be interpreted as a sign from a biblical prophesy? Hasn't this happened over and over, prophecy of the end after prophecy being debunked by the boring continuity of life as we know it?\u003c/p>\n\u003cp>Believers disagree. They argue that it all revolves around Israel and the mounting tensions in the region — and that this is it. Israel's existence, a chronology of dates from its foundation to wars, everything, they say, points to the veracity of the old prophecies. One of them in particular, Michael Rood, has returned to Israel to watch the end unfold. Rood looks like a benevolent rabbi, a biblical patriarch. He is convinced that come Sept. 23 something will happen to the sun, signifying the dragon of the prophecy, although not necessarily Planet X. He is convinced that God will send the sign, and it need not be consistent with science. In his world, there are two coexisting parallel realities, a natural and a supernatural one. Come the end, they will clash in decisive ways.\u003c/p>\n\u003cp>I watched the documentary in a state of awe. The key question here is what makes people believe in such literal readings in 2017?\u003c/p>\n\u003cp>In my book \u003cem>\u003ca href=\"http://books.wwnorton.com/books/The-Prophet-and-the-Astronomer/\">The Prophet and the Astronomer: Apocalyptic Science and the End of the World\u003c/a>\u003c/em>, I explored why apocalyptic ideas often depend on some celestial event and how such ideas have percolated from religion to science. The skies do display unusual alignments and phenomena that have been observed for millennia. Since for believers the skies are often the realm of the gods, the jump from seeing something strange up there to attributing it to some sort of divine message is not a huge one. Indeed, in cultures across the globe we find eclipses, comets, and meteor showers being associated with evil portents. If the skies act crazy, the gods can't be happy. If the gods aren't happy, we will pay for it especially — if you are a Christian — the sinners.\u003c/p>\n\u003cp>The fear from the skies comes from the awareness of our essential fragility as we face nature's awesome powers. The current hurricane season is an obvious example of this, as is the recent solar eclipse. St. John makes good use of the blackened sun in his Revelation, knowing well that the image conjured terror in his readers. If God controls the heavens and He makes the sun disappear for a few minutes, couldn't He just as easily make it go dark forever?\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-96161 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/09/giphy-1-1.gif\" alt=\"\" width=\"500\" height=\"220\">\u003c/p>\n\u003cp>Shermer, Krupp, and Batygin do their best to dispel any potential danger. Krupp goes as far as chiding the literalists for scaring otherwise nice, good people with such fantastic tales. The documentary explores the potential for an all-out nuclear war starting with Iran bombing Israel or North Korea doing something equally outrageous. Of course, no one can predict what rogue states with nuclear weapons will do. It is meaningful that I am writing these lines on 9-11, a date forever tinged with blood in the U.S. However, even if something awful does happen on Sept. 23, an act of war or of terror, it will be hard to know what came first, the act or the belief that an act on this date would conjure terror on large sectors of the population.\u003c/p>\n\u003cp>The strength of \u003cem>The Sign\u003c/em> is to expose so openly the extent to which literalists will go to justify their beliefs, some using very complex numerology and coincidences as clues. The film ends with someone (I suspect Rood) asking: \"Could this be the year? This could be the year.\"\u003c/p>\n\u003cp>Unfortunately, any year could be the year. If anything, it's really up to us to collectively make a difference in what we see around us, from social injustice to disease and famine. To instill fear as an agent of change hasn't worked for millennia — and it won't work now.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Marcelo Gleiser is a theoretical physicist and writer — and a professor of natural philosophy, physics and astronomy at Dartmouth College. He is the director of the \u003c/em>\u003ca href=\"http://ice.dartmouth.edu\">Institute for Cross-Disciplinary Engagement\u003c/a>\u003cem> at Dartmouth, co-founder of 13.7 and an active promoter of science to the general public. His latest book is \u003c/em>\u003ca href=\"http://marcelogleiser.com/books/the-simple-beauty-of-the-unexpected-a-natural-philosophers-quest-for-trout-and-the-meaning-of-everything\">The Simple Beauty of the Unexpected: A Natural Philosopher's Quest for Trout and the Meaning of Everything\u003c/a>\u003cem>. You can keep up with Marcelo on \u003c/em>\u003ca href=\"http://goo.gl/93dHI\">Facebook\u003c/a>\u003cem> and Twitter: \u003c/em>\u003ca href=\"https://twitter.com/#!/mgleiser\">@mgleiser\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+The+Apocalypse+Coming%3F+No%2C+It+Isn%27t%21&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"You might want to get your affairs in order... or not!","status":"publish","parent":0,"modified":1505332086,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1281},"headData":{"title":"Just FYI: The Bible Says the Apocalypse Might be Happening This Month | KQED","description":"You might want to get your affairs in order... or not!","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"96146 https://ww2.kqed.org/pop/?p=96146","disqusUrl":"https://ww2.kqed.org/pop/2017/09/14/just-fyi-the-bible-says-the-apocalypse-might-be-happening-this-month/","disqusTitle":"Just FYI: The Bible Says the Apocalypse Might be Happening This Month","nprByline":"Marcelo Gleiser","nprStoryId":"550713417","nprApiLink":"http://api.npr.org/query?id=550713417&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/sections/13.7/2017/09/13/550713417/is-the-apocalypse-coming-no-it-isn-t?ft=nprml&f=550713417","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Sep 2017 14:24:00 -0400","nprStoryDate":"Wed, 13 Sep 2017 13:49:00 -0400","nprLastModifiedDate":"Wed, 13 Sep 2017 14:24:27 -0400","path":"/pop/96146/just-fyi-the-bible-says-the-apocalypse-might-be-happening-this-month","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Sign\u003c/em>, a documentary directed, shot and produced by Josh Turnbow and Robert Dvoran and set to air Thursday, addresses whether the end of days is coming this month, as some biblical literalists predict.\u003c/p>\n\u003cp>The \"sign\" in the title refers to an alignment in the sky peaking on Sept. 23, whereby Mercury, Venus, Mars, and Jupiter will be around the constellations of Virgo and Leo, together with the sun and moon. Sept. 23 is when Jupiter leaves Virgo after being there for a while.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.biblegateway.com/passage/?search=Revelation+12\">Revelation 12\u003c/a>, some say, this is when the end comes, after much turmoil and destruction:\u003c/p>\n\u003cblockquote>\u003cp>\"A great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. She was pregnant and cried out in pain as she was about to give birth. Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads. Its tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born. She gave birth to a son, a male child, who \"will rule all the nations with an iron scepter.\" And her child was snatched up to God and to his throne.\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-96160 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/09/giphy-1.gif\" alt=\"\" width=\"500\" height=\"274\">\u003c/p>\u003c/blockquote>\n\u003cp>According to the biblical literalists interviewed in \u003cem>The Sign\u003c/em>, airing Sept. 14 at 8 p.m. ET/PT, the \"son\" leaving the birth canal is Jupiter leaving Virgo. The red dragon is associated by some literalists with Planet X, a planet (wrongly) conjectured to orbit the sun about 90 times more distant than Earth, which, the literalists say, comes every so often to create havoc.\u003c/p>\n\u003cp>To make a long story short, many biblical literalists affirm with utmost conviction in the documentary that Sept. 23 is it — the day the end comes as prophesied in Revelation. A preview of the film can be watched \u003ca href=\"https://www.youtube.com/watch?v=Sx7J1ErEqOc\">here\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Sx7J1ErEqOc'\n title='//www.youtube.com/embed/Sx7J1ErEqOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fortunately, the documentary doesn't only present this version of the story. Michael Shermer, author and editor of \u003ca href=\"https://www.skeptic.com\">Skeptic\u003c/a> magazine is there, too, to make sense of the nonsense. And so are Ed Krupp, director of the \u003ca href=\"http://www.griffithobservatory.org/about/griffithobservatory.html\">Griffith Observatory\u003c/a>, and \u003ca href=\"https://www.konstantinbatygin.com/\">Konstantin Batygin\u003c/a>, an assistant professor of astronomy at Caltech. Together, they explain the scientific arguments against such fears, including the fact that there is no Planet X. Any such planet, given its elongated orbit and large mass, would have caused major instabilities in the solar system, including ejecting the Earth from its place around the sun. Given that Earth has been orbiting the sun for 4.5 billion years, its orbit is pretty stable so far. There is no such planet.\u003c/p>\n\u003cp>Watching the documentary, what I find most striking is the strength of the literalists' conviction. What will they say on Sept. 23 when the world remains where it is? Surely, as Shermer mentions, Trump may do something, or North Korea. But isn't it always the case that there will be turmoil somewhere in the world — and this turmoil may be interpreted as a sign from a biblical prophesy? Hasn't this happened over and over, prophecy of the end after prophecy being debunked by the boring continuity of life as we know it?\u003c/p>\n\u003cp>Believers disagree. They argue that it all revolves around Israel and the mounting tensions in the region — and that this is it. Israel's existence, a chronology of dates from its foundation to wars, everything, they say, points to the veracity of the old prophecies. One of them in particular, Michael Rood, has returned to Israel to watch the end unfold. Rood looks like a benevolent rabbi, a biblical patriarch. He is convinced that come Sept. 23 something will happen to the sun, signifying the dragon of the prophecy, although not necessarily Planet X. He is convinced that God will send the sign, and it need not be consistent with science. In his world, there are two coexisting parallel realities, a natural and a supernatural one. Come the end, they will clash in decisive ways.\u003c/p>\n\u003cp>I watched the documentary in a state of awe. The key question here is what makes people believe in such literal readings in 2017?\u003c/p>\n\u003cp>In my book \u003cem>\u003ca href=\"http://books.wwnorton.com/books/The-Prophet-and-the-Astronomer/\">The Prophet and the Astronomer: Apocalyptic Science and the End of the World\u003c/a>\u003c/em>, I explored why apocalyptic ideas often depend on some celestial event and how such ideas have percolated from religion to science. The skies do display unusual alignments and phenomena that have been observed for millennia. Since for believers the skies are often the realm of the gods, the jump from seeing something strange up there to attributing it to some sort of divine message is not a huge one. Indeed, in cultures across the globe we find eclipses, comets, and meteor showers being associated with evil portents. If the skies act crazy, the gods can't be happy. If the gods aren't happy, we will pay for it especially — if you are a Christian — the sinners.\u003c/p>\n\u003cp>The fear from the skies comes from the awareness of our essential fragility as we face nature's awesome powers. The current hurricane season is an obvious example of this, as is the recent solar eclipse. St. John makes good use of the blackened sun in his Revelation, knowing well that the image conjured terror in his readers. If God controls the heavens and He makes the sun disappear for a few minutes, couldn't He just as easily make it go dark forever?\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-96161 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/09/giphy-1-1.gif\" alt=\"\" width=\"500\" height=\"220\">\u003c/p>\n\u003cp>Shermer, Krupp, and Batygin do their best to dispel any potential danger. Krupp goes as far as chiding the literalists for scaring otherwise nice, good people with such fantastic tales. The documentary explores the potential for an all-out nuclear war starting with Iran bombing Israel or North Korea doing something equally outrageous. Of course, no one can predict what rogue states with nuclear weapons will do. It is meaningful that I am writing these lines on 9-11, a date forever tinged with blood in the U.S. However, even if something awful does happen on Sept. 23, an act of war or of terror, it will be hard to know what came first, the act or the belief that an act on this date would conjure terror on large sectors of the population.\u003c/p>\n\u003cp>The strength of \u003cem>The Sign\u003c/em> is to expose so openly the extent to which literalists will go to justify their beliefs, some using very complex numerology and coincidences as clues. The film ends with someone (I suspect Rood) asking: \"Could this be the year? This could be the year.\"\u003c/p>\n\u003cp>Unfortunately, any year could be the year. If anything, it's really up to us to collectively make a difference in what we see around us, from social injustice to disease and famine. To instill fear as an agent of change hasn't worked for millennia — and it won't work now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marcelo Gleiser is a theoretical physicist and writer — and a professor of natural philosophy, physics and astronomy at Dartmouth College. He is the director of the \u003c/em>\u003ca href=\"http://ice.dartmouth.edu\">Institute for Cross-Disciplinary Engagement\u003c/a>\u003cem> at Dartmouth, co-founder of 13.7 and an active promoter of science to the general public. His latest book is \u003c/em>\u003ca href=\"http://marcelogleiser.com/books/the-simple-beauty-of-the-unexpected-a-natural-philosophers-quest-for-trout-and-the-meaning-of-everything\">The Simple Beauty of the Unexpected: A Natural Philosopher's Quest for Trout and the Meaning of Everything\u003c/a>\u003cem>. You can keep up with Marcelo on \u003c/em>\u003ca href=\"http://goo.gl/93dHI\">Facebook\u003c/a>\u003cem> and Twitter: \u003c/em>\u003ca href=\"https://twitter.com/#!/mgleiser\">@mgleiser\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+The+Apocalypse+Coming%3F+No%2C+It+Isn%27t%21&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/96146/just-fyi-the-bible-says-the-apocalypse-might-be-happening-this-month","authors":["byline_pop_96146"],"categories":["pop_1041"],"tags":["pop_860"],"featImg":"pop_96157","label":"pop"},"pop_52574":{"type":"posts","id":"pop_52574","meta":{"index":"posts_1591205157","site":"pop","id":"52574","score":null,"sort":[1481529645000]},"guestAuthors":[],"slug":"the-walking-dead-and-other-apocalypse-entertainment-suddenly-too-real","title":"'The Walking Dead' and Other Apocalypse Entertainment: Suddenly Too Real?","publishDate":1481529645,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Also, why we're mad at Kate Bush, Harrison Ford, and Nate Parker, and how Toni Morrison more than makes up for it.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/12/Apocalypse.mp3\" title=\"'The Walking Dead' and Other Apocalypse Entertainment: Suddenly Too Real?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The Walking Dead\u003c/em>'s ratings are way down. We question whether it's because apocalypse entertainment might feel a bit too real at the moment:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/startled-baby.gif\">\u003cimg class=\"aligncenter size-full wp-image-52588\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/startled-baby.gif\" alt=\"startled-baby\" width=\"295\" height=\"222\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We also commiserate over our favorite celebrities who've let us down recently:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/200.gif\">\u003cimg class=\"aligncenter size-full wp-image-52589\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/200.gif\" alt=\"200\" width=\"306\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>We reveal who the new owner of the real \u003cem>Full House\u003c/em> home is:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/12/01/the-real-full-house-home-sells-for-4-million-to-a-familiar-name/\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/giphy-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-52590\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/giphy-2.gif\" alt=\"giphy-2\" width=\"447\" height=\"348\">\u003c/a>\u003c/p>\n\u003cp>We revel in the wisdom of Toni Morrison:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/toni-morrison-charlie-rose-04-817cfdccd45988348728562185d67d68.gif\">\u003cimg class=\"aligncenter size-full wp-image-52591\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/toni-morrison-charlie-rose-04-817cfdccd45988348728562185d67d68.gif\" alt=\"toni-morrison-charlie-rose-04-817cfdccd45988348728562185d67d68\" width=\"400\" height=\"285\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on the 2005 Amerie jam that keeps on giving:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bbqVg_23otg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n","blocks":[],"excerpt":"Also, why we're mad at Kate Bush, Harrison Ford, and Nate Parker, and how Toni Morrison more than makes up for it.","status":"publish","parent":0,"modified":1489452258,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":188},"headData":{"title":"'The Walking Dead' and Other Apocalypse Entertainment: Suddenly Too Real? | KQED","description":"Also, why we're mad at Kate Bush, Harrison Ford, and Nate Parker, and how Toni Morrison more than makes up for it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"52574 http://ww2.kqed.org/pop/?p=52574","disqusUrl":"https://ww2.kqed.org/pop/2016/12/12/the-walking-dead-and-other-apocalypse-entertainment-suddenly-too-real/","disqusTitle":"'The Walking Dead' and Other Apocalypse Entertainment: Suddenly Too Real?","path":"/pop/52574/the-walking-dead-and-other-apocalypse-entertainment-suddenly-too-real","audioUrl":"https://www.kqed.org/.stream/mp3splice/radio/thecooler/2016/12/Apocalypse.mp3","audioDuration":1531000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Also, why we're mad at Kate Bush, Harrison Ford, and Nate Parker, and how Toni Morrison more than makes up for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"program":"The Cooler","image":"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg","label":"src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/12/Apocalypse.mp3\" title=\"'The Walking Dead' and Other Apocalypse Entertainment: Suddenly Too Real?\""},"numeric":["src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/12/Apocalypse.mp3\" title=\"'The","Walking","Dead'","and","Other","Apocalypse","Entertainment:","Suddenly","Too","Real?\""]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The Walking Dead\u003c/em>'s ratings are way down. We question whether it's because apocalypse entertainment might feel a bit too real at the moment:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/startled-baby.gif\">\u003cimg class=\"aligncenter size-full wp-image-52588\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/startled-baby.gif\" alt=\"startled-baby\" width=\"295\" height=\"222\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We also commiserate over our favorite celebrities who've let us down recently:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/200.gif\">\u003cimg class=\"aligncenter size-full wp-image-52589\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/200.gif\" alt=\"200\" width=\"306\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>We reveal who the new owner of the real \u003cem>Full House\u003c/em> home is:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"kqedEmbed","attributes":{"named":{"url":"https://ww2.kqed.org/pop/2016/12/01/the-real-full-house-home-sells-for-4-million-to-a-familiar-name/"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/giphy-2.gif\">\u003cimg class=\"aligncenter size-full wp-image-52590\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/giphy-2.gif\" alt=\"giphy-2\" width=\"447\" height=\"348\">\u003c/a>\u003c/p>\n\u003cp>We revel in the wisdom of Toni Morrison:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/toni-morrison-charlie-rose-04-817cfdccd45988348728562185d67d68.gif\">\u003cimg class=\"aligncenter size-full wp-image-52591\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/12/toni-morrison-charlie-rose-04-817cfdccd45988348728562185d67d68.gif\" alt=\"toni-morrison-charlie-rose-04-817cfdccd45988348728562185d67d68\" width=\"400\" height=\"285\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on the 2005 Amerie jam that keeps on giving:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bbqVg_23otg'\n title='//www.youtube.com/embed/bbqVg_23otg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/52574/the-walking-dead-and-other-apocalypse-entertainment-suddenly-too-real","authors":["27"],"categories":["pop_2793"],"tags":["pop_860","pop_1512","pop_2859"],"featImg":"pop_52595","label":"pop"},"pop_13484":{"type":"posts","id":"pop_13484","meta":{"index":"posts_1591205157","site":"pop","id":"13484","score":null,"sort":[1413293403000]},"guestAuthors":[],"slug":"a-brief-history-of-the-future-as-seen-in-movies","title":"Our Future, As Seen Throughout the History of Film","publishDate":1413293403,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In a \u003ca href=\"http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury\" target=\"_blank\">Paris Review interview\u003c/a> published only two years before his death, author Ray Bradbury said, “Science fiction pretends to look into the future, but it’s really looking at a reflection of what is already in front of us.” My first foray into the genre was through Bradbury's own \u003cem>The Martian Chronicles. \u003c/em>I still recall the mixture of fear and awe I felt, wondering if the interstellar travel he predicted would ever become a reality. No doubt, exploration and colonization of Mars wouldn't be part of my own life experience, but imagining that possibility, and considering how society might get there was compelling.\u003c/p>\n\u003cp>The vision of the future in science fiction - and speculative fiction in general - has never been constant; the reflection stretches and tilts like a fun house mirror, as time passes and new realities take hold. Simmering underneath fantastical settings and advanced technology are our very real, very human hopes and fears. What will happen to \u003ca href=\"http://ww2.kqed.org/arts/2014/05/21/sci-fi-san-francisco-examples-of-the-city-in-the-future/\" target=\"_blank\">the cities we live in\u003c/a>, to \u003ca href=\"http://blogs.kqed.org/bayareabites/2013/07/15/food-in-science-fiction-in-the-future-we-will-all-eat-lasers/\" target=\"_blank\">the food we eat\u003c/a>? What \u003ca href=\"http://io9.com/these-are-the-surprising-jobs-youll-be-doing-by-the-203-1577363367\" target=\"_blank\">jobs will we have\u003c/a>? Will we even be here at all?\u003c/p>\n\u003cp>When it comes to movies in particular, we have seen many futures over the years: bleak and ravaged worlds; sleek, regulated utopias; and subtle near futures, echoing our current realities and the immediate possibilities ahead. Let's revisit some of those themes, shall we?\u003c/p>\n\u003cp>\u003cstrong>BETTER LIVING THROUGH CIRCUITRY\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13546\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage.jpg\">\u003cimg class=\"wp-image-13546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage-1024x358.jpg\" alt=\"robotcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: Metropolis, Blade Runner, Surrogates, Robot and Frank\u003c/figcaption>\u003c/figure>\n\u003cp>The technological advances of the late 19th and early 20th centuries served as inspiration for pioneers of science fiction like Mary Shelley, Jules Verne and H. G. Wells. (And, interestingly, E.M. Forster, whose short story \u003cem>\u003ca href=\"http://archive.ncsa.illinois.edu/prajlich/forster.html\" target=\"_blank\">The Machine Stops\u003c/a>\u003c/em> is an early prediction of the internet, among other things.) They, and the many writers and filmmakers who followed in their stead, turned their eyes toward a future filled with incredible feats of science and engineering. But those stories also carried a sense of unease and a fear of technology taking over - perhaps even destroying - our lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That wariness is captured most perfectly when humanity is confronted with artificial intelligence. In many ways, it kicked off with Fritz Lang's \u003cem>Metropolis\u003c/em>, in which a deceptive robotic woman plays a major role in escalating a clash between the wealthy elite and the working class of a glimmering, industrialist city. Although much of Hollywood's \u003ca href=\"http://www.slate.com/articles/health_and_science/nuclear_power/2013/01/nuclear_monster_movies_sci_fi_films_in_the_1950s_were_terrifying_escapism.html\" target=\"_blank\">science fiction output of the 1950s\u003c/a> was fueled by political paranoia and the nuclear menace, the Man vs. Machine stories carried on.\u003c/p>\n\u003cp>One of the biggest landmarks in the genre, Stanley Kubrick's \u003cem>2001: A Space Odyssey\u003c/em> (1968), gave us an iconic antagonist in HAL 9000, a sentient system that would kill out of self-preservation. With the '80s came \u003cem>The Terminator\u003c/em>, successfully combining android warfare with another popular sci-fi element, time travel; the \u003ca href=\"https://www.youtube.com/watch?v=zCZY9Z6WvSY\" target=\"_blank\">hilariously campy\u003c/a> robo-hunter flick \u003cem>Runaway\u003c/em>, starring Tom Selleck and his mustache; and the elegantly imagined \u003cem>Blade Runner\u003c/em>, which made us ponder what it truly means to be a person.\u003c/p>\n\u003cp>But even as plot lines began to take on a more philosophical, compassionate angle, the undertone of Us versus Them remained. Take, for instance, the android starfleet officer, Lt. Commander Data. A beloved character on \u003cem>Star Trek: The Next Generation\u003c/em>, people still often undermined and insulted him, or even questioned his rights as an autonomous individual.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GYp2dx652ho\u003c/p>\n\u003cp>With developments in \u003ca href=\"http://news.discovery.com/tech/biotechnology/your-brain-in-2050-neural-implants-and-robotic-limbs-140603.htm\" target=\"_blank\">cybernetic augmentation\u003c/a> and robotics - \u003ca href=\"http://www.wired.com/2014/08/tour-the-labs-where-the-worlds-creepiest-humanoid-robots-are-born/\" target=\"_blank\">humanoid\u003c/a> or \u003ca href=\"http://www.businessinsider.com/silent-robot-cheetah-from-darpa-and-mit-2014-9\" target=\"_blank\">otherwise\u003c/a> - making science fiction a reality, we are in a place to devote more time to contemplating the more subtle implications of humanity, not just \u003ca href=\"http://the-toast.net/2014/07/28/listicles-brief-uneasy-future/\" target=\"_blank\">coexisting\u003c/a> with artificial life, but embracing it. While ultimately falling flat (and venturing too far for my liking into uncanny valley territory with a robotic Bruce Willis), the 2009 film \u003cem>Surrogates\u003c/em> tried to imagine a world where people have chosen to live through cybernetic proxies. Although the surrogates themselves aren't independent machinery, controlled by their human counterparts remotely from the safety of their homes, that sort of augmented reality \u003ca href=\"http://singularityhub.com/2009/08/07/is-surrogates-movie-getting-closer-to-reality/\" target=\"_blank\">isn't entirely far fetched\u003c/a>.\u003c/p>\n\u003cp>We don't have to look too far into the future to ruminate on lives becoming increasingly intertwined with artificial technology. \u003cem>Robot & Frank \u003c/em>(2012) is an understated near-future science fiction, a meditation on aging and memory. The robot in the movie is presented as a caretaker to the elderly Frank (Frank Langella), and while the older man is at first resistant, not only does he develop a friendship with the robot, they even pull off a jewelry heist together. With a renewed zest for life, Frank reconnects with the man he once was, while the robot shows an artificial life's capacity to grow and adapt.\u003c/p>\n\u003cp>In Spike Jonze's \u003cem>Her\u003c/em>, it's 2025 and Theodore Twombly (Joaquin Phoenix) \u003ca href=\"http://blogs.kqed.org/pop/2014/01/10/falling-in-love-with-robots-spike-jonzes-her-asks-could-it-be-so-bad/\" target=\"_blank\">falls in love\u003c/a> with an operating system called Samantha. She may be only a voice, but she jokes, flirts and wonders about being a human being, and we are once again confronted with questions of identity and humanity, questions that have existed long before machines and will continue to exist as long as we do.\u003c/p>\n\u003cp>\u003cstrong>UTOPIA! DYSTOPIA! LET'S CALL THE WHOLE THING OFF!\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13599\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia.jpg\">\u003cimg class=\"wp-image-13599\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia-1024x327.jpg\" alt=\"utopiadystopia\" width=\"600\" height=\"192\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scenes from The Book of Eli and The Hunger Games\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"http://www.emmytvlegends.org/interviews/people/gene-roddenberry#\" target=\"_blank\">Gene Rodenberry\u003c/a> developed \u003cem>Star Trek\u003c/em> in the 1960s, his vision of the utopian, egalitarian humanity of the 24th century was shaped by a hopeful optimism for people's capacity to create and evolve, and to attain equality and respect between all citizens. (Well, \u003ca href=\"http://bitchmagazine.org/post/star-trek-into-feminism-three-ways-the-sci-fi-series-needs-to-change\" target=\"_blank\">to an extent\u003c/a>.) Overall, the franchise has been sincere in trying to present a truly utopian future. Beyond that, the distinction between a utopia - an ideal, perfect society, as first named by Thomas Merton - and dystopia, its grim cousin, has been quite blurry and that gray area has been fertile ground for many stories.\u003c/p>\n\u003cp>Out of destruction can emerge primal chaos and basic need for survival, or orderly systems that reinforce centuries old social hierarchies. Or both. Those who live outside the protective domes and walled cities occupy a harsh reality (depicted in desaturated tones, naturally), while those fortunate enough to end up within some protective enclave might have more creature comforts and luxuries, but often at a cost to their liberty. \u003cem>Divergent, The Hunger Games, The Book of Eli \u003c/em>and Bong Joon-ho's \u003cem>Snowpiercer\u003c/em> are some of the more recent examples of movies contemplating a disastrous future, but speculative fiction has been fascinated with the nuances for a long while now.\u003c/p>\n\u003cp>The previously mentioned \u003cem>Metropolis\u003c/em> comes to mind, and in 1936, \u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\">H. G. Wells'\u003c/a>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\"> Things to Come\u003c/a> \u003c/em>charted the potential course of humanity from a global war in 1940 to a technologically advanced but divided society in 2036. Most of us are undoubtedly familiar with George Orwell’s dystopian novel \u003cem>Nineteen Eighty Four\u003c/em>, set in a totalitarian world of few liberties and much government surveillance. (A novel which is \u003ca href=\"http://blogs.kqed.org/pop/2014/09/16/5-old-movies-that-actually-should-be-remade/\" target=\"_blank\">probably due\u003c/a> for an updated film version.)\u003c/p>\n\u003cp>We have seen it all: a hedonistic domed city where none shall live past age 30 (\u003cem>Logan's Run\u003c/em>); a wasteland ruled by savage motorcycle gangs with wild hair (\u003cem>Mad Max\u003c/em> movies); and sophisticated, slick cities where citizens' futures are regulated by their genetic makeup (\u003cem>Gattaca\u003c/em>) or even actions that haven't taken place yet (\u003cem>Minority Report\u003c/em>).\u003c/p>\n\u003cp>There is an ongoing \u003ca href=\"http://www.salon.com/2014/02/26/americas_apocalypse_obsession_partner/\" target=\"_blank\">obsession\u003c/a> with the notion of the apocalypse, and it's \u003ca href=\"http://www.washingtonpost.com/news/act-four/wp/2014/06/06/no-you-do-not-have-to-be-ashamed-of-reading-young-adult-fiction/\" target=\"_blank\">not limited\u003c/a> to teenagers devouring dystopian YA literature. Psychologically, we're \u003ca href=\"http://blogs.scientificamerican.com/observations/2012/12/18/psychology-reveals-the-comforts-of-the-apocalypse/\" target=\"_blank\">wired\u003c/a> to ponder the end times, whether it's a world turned upside down by wars or by nature's hand. While we might do a good job imagining all the worst case scenarios as to \u003cem>how\u003c/em> it can all go down, sci-fi also helps extend our imaginations to what happens \u003cem>after\u003c/em>, and to the notion that humanity might prevail.\u003c/p>\n\u003cp>\u003cstrong>THE FUTURE IS A CATWALK\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13550\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage.jpg\">\u003cimg class=\"wp-image-13550\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage-1024x358.jpg\" alt=\"fashcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: The Hunger Games: Catching Fire, The Fifth Element, Logan's Run, Mad Max Beyond Thunderdome\u003c/figcaption>\u003c/figure>\n\u003cp>Compelling world building is important to propel the plot, but the clothes people will wear in the future can say just as much as a perfectly designed architectural landscape. People \u003ca href=\"http://www.buzzfeed.com/briangalindo/this-is-what-people-in-1893-imagined-we-would-be-wearing-in#26ywf0p\" target=\"_blank\">have been fascinated\u003c/a> with fashions of the future \u003ca href=\"https://www.youtube.com/watch?v=U9eAiy0IGBI\" target=\"_blank\">for a long while.\u003c/a> It's a delicate balance, to create a futuristic film wardrobe: make it too subtle, and people won't pick up on your intent; make it wildly \u003ca href=\"http://io9.com/5969957/weirdest-and-sexiest-costumes-from-the-original-star-trek/\" target=\"_blank\">outlandish\u003c/a>, and it may become dated (while still making for great Halloween or convention costumes); put \u003ca href=\"http://en.wikipedia.org/wiki/Zardoz\" target=\"_blank\">a red mankini\u003c/a> on Sean Connery and... well, that's exactly what you get.\u003c/p>\n\u003cp>One of my \u003ca href=\"http://hellotailor.blogspot.com/2013/09/dressing-for-apocalypse-how-to-build.html\" target=\"_blank\">pet peeves\u003c/a> is when everyone in the future dresses the same, however. In certain settings - hedonistic domed enclaves, totalitarian communities, militaristic structures - uniformity makes sense. But beyond that, it's nearsighted thinking. Considering the evolving history of fashion, the varieties of subcultures and street style that have existed, and our tendency to regurgitate trends of the past, the future should be a glorious mishmash of individual style, even if it \u003cem>is\u003c/em> picking from scrapheaps of textiles left after a nuclear fall out.\u003c/p>\n\u003cp>From that mass of black suits and silver tunics, some gems have emerged: \u003cem>\u003ca href=\"http://silverscreenmodes.com/?p=211\" target=\"_blank\">Blade Runner\u003c/a>\u003c/em>, with its blend of noir fashion and modern street style; \u003cem>Mad Max\u003c/em>, which gave its desert warriors a look that was both cohesive and distinct for each of the characters; the overall aesthetic of films like \u003cem>Children of Men\u003c/em> or \u003cem>Book of Eli\u003c/em>, showing a world of scarcity and priorities higher than sartorial concerns, but also glimmers of individuality.\u003c/p>\n\u003cp>The fashion industry has had a long standing reciprocal relationship with science fiction films. \u003ca href=\"http://www.vogue.com/873551/dressing-the-hunger-games-costume-designer-judianna-makovsky/\" target=\"_blank\">\u003cem>Hunger Games\u003c/em> costume designer\u003c/a> Judianna Makovsky cites Alexander McQueen and Elsa Schiaparelli as indelible influences on the style of spectacle-obsessed citizens of Panem's Capitol. Couturiers' involvement in film hasn't be limited to serving as just inspiration, either. Hardy Amies, Saville Row based clothier for Queen Elizabeth II, was brought on board by Stanley Kubrick to create costumes for \u003cem>2001: A Space Odyssey\u003c/em>; Jean Paul Gaultier is responsible for dreaming up \u003ca href=\"http://onthisdayinfashion.com/?p=13466\" target=\"_blank\">more than 900\u003c/a> of the over-the-top, colorful costumes for \u003cem>The Fifth Element\u003c/em>; and even though his designs didn't make the cut, Gianni Versace came up with some \u003ca href=\"http://io9.com/5933676/unused-judge-dredd-concept-art-says-my-codpiece-is-the-law\" target=\"_blank\">pretty extravagant\u003c/a> sketches for \u003cem>Judge Dredd\u003c/em>.\u003c/p>\n\u003cp>And just as science fiction has had an obvious impact on our approach to \u003ca href=\"http://arstechnica.com/apple/2010/08/how-star-trek-artists-imagined-the-ipad-23-years-ago/\" target=\"_blank\">product design\u003c/a>, so has it had its influence - direct or subtle - on the world of fashion. From Thierry Mugler's sexy robot in the video for George Michael's \u003cem>\u003ca href=\"http://fierth.com/2013/03/thierry-muglers-original-unseen-video-for-too-funky-leaked-21-years-later/\" target=\"_blank\">Too Funky\u003c/a>\u003c/em>, to Gareth Pugh and Junya Watanabe's \u003ca href=\"http://weburbanist.com/2013/01/28/futuristic-fashion-35-out-of-this-world-designer-looks/\" target=\"_blank\">sculptural looks\u003c/a>, the futuristic and fantastical has made its mark on the runway.\u003c/p>\n\u003cp>Things get even more exciting when we think of garments as serving functions beyond adornment. Dutch designer \u003ca href=\"http://www.anoukwipprecht.nl/projects.html\" target=\"_blank\">Annouk Wiprecht\u003c/a> creates fashion armor that serves as an interactive link between the wearer and their environment: dresses release soft plumes of smoke or activate defensive mechanical spider legs attached to the shoulders, based on the proximity of nearby people, while another garment, Intimacy, turns transparent in response to the wearer's arousal and heartbeat. While slightly off-putting for anyone uncomfortable with needles, Israeli designer \u003ca href=\"http://design-milk.com/naomi-kizhners-parasitic-powered-jewelry/\" target=\"_blank\">Naomi Kizhner\u003c/a> has come up with a concept for a small collection of bioelectrical jewelry that would react to the body's energy. And when it comes to textiles, there are \u003ca href=\"http://www.forbes.com/sites/forbesstylefile/2014/05/07/what-is-the-future-of-fabric-these-smart-textiles-will-blow-your-mind/\" target=\"_blank\">\"smart\" fabrics\u003c/a> that can be sprayed on the body or be controlled by mobile devices, in general elevating the stakes when it comes to science fiction's ability to outstrip reality.\u003c/p>\n\u003cp>\u003cstrong>NEAR FUTURE\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lk_UElPrW6A\u003c/p>\n\u003cp>Over time, I've developed more of an appreciation for science fiction that echoes the immediate realities of our world - films like the previously mentioned \u003cem>Robot and Frank\u003c/em> and \u003cem>Her\u003c/em>. As author \u003ca href=\"http://jessicacharlesworth.com/2014/why-sci-fi-is-obsessed-with-the-near-future-chicago-tribune-interview/\" target=\"_blank\">Richard Powers says\u003c/a>, \"All we have to do is explore the cascades of futures already set in motion.\"\u003c/p>\n\u003cp>One of my favorite recent bits of sci-fi, combining all the elements mentioned here, is the Canadian show \u003cem>Continuum\u003c/em>. The hero is Kiera Cameron (Rachel Nichols), a \"Protector\" from 2077 transported back to our present day, when a group of anti-corporation terrorists, Liber8, use a time travel device to escape execution. In her time, Cameron is part of a privatized, cybernetically augmented police force in a world where the Corporate Congress of oligarchs reigns supreme and citizen surveillance is the routine. As she tries to navigate Vancouver in 2012, Cameron begins to question all that she believed in and finds an unlikely ally in a young man, Alec Sadler, who will in fact become the same corporate king that Liber8 blame for the erosion of civil liberties in the future. That is, if the future can't be altered in the present.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While still requiring some suspension of disbelief - time travel is one of those things that, no matter how technologically advanced we get, is still hard to fathom - the excitement of the series lies in the way it shows a realistic present with future possibilities branching out. But as much as I find exercises in speculation on our immediate future fascinating, I'm also more than a little bit excited about Christopher Nolan's \u003ca href=\"http://www.scifinow.co.uk/blog/where-are-all-the-space-exploration-films/\" target=\"_blank\">upcoming film \u003cem>Interstellar\u003c/em>\u003c/a>, which promises to go back to what enthralled so many of us in science fiction in the first place - exploration of space. Whether looking a few years ahead, or some light years away, one thing is clear: for sci-fi storytellers, the future is wide open.\u003c/p>\n\n","blocks":[],"excerpt":"When it comes to movies, we have seen many futures over the years. Let's revisit some of them, shall we?","status":"publish","parent":0,"modified":1412578319,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":2426},"headData":{"title":"Our Future, As Seen Throughout the History of Film | KQED","description":"When it comes to movies, we have seen many futures over the years. Let's revisit some of them, shall we?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"13484 http://blogs.kqed.org/pop/?p=13484","disqusUrl":"https://ww2.kqed.org/pop/2014/10/14/a-brief-history-of-the-future-as-seen-in-movies/","disqusTitle":"Our Future, As Seen Throughout the History of Film","path":"/pop/13484/a-brief-history-of-the-future-as-seen-in-movies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury\" target=\"_blank\">Paris Review interview\u003c/a> published only two years before his death, author Ray Bradbury said, “Science fiction pretends to look into the future, but it’s really looking at a reflection of what is already in front of us.” My first foray into the genre was through Bradbury's own \u003cem>The Martian Chronicles. \u003c/em>I still recall the mixture of fear and awe I felt, wondering if the interstellar travel he predicted would ever become a reality. No doubt, exploration and colonization of Mars wouldn't be part of my own life experience, but imagining that possibility, and considering how society might get there was compelling.\u003c/p>\n\u003cp>The vision of the future in science fiction - and speculative fiction in general - has never been constant; the reflection stretches and tilts like a fun house mirror, as time passes and new realities take hold. Simmering underneath fantastical settings and advanced technology are our very real, very human hopes and fears. What will happen to \u003ca href=\"http://ww2.kqed.org/arts/2014/05/21/sci-fi-san-francisco-examples-of-the-city-in-the-future/\" target=\"_blank\">the cities we live in\u003c/a>, to \u003ca href=\"http://blogs.kqed.org/bayareabites/2013/07/15/food-in-science-fiction-in-the-future-we-will-all-eat-lasers/\" target=\"_blank\">the food we eat\u003c/a>? What \u003ca href=\"http://io9.com/these-are-the-surprising-jobs-youll-be-doing-by-the-203-1577363367\" target=\"_blank\">jobs will we have\u003c/a>? Will we even be here at all?\u003c/p>\n\u003cp>When it comes to movies in particular, we have seen many futures over the years: bleak and ravaged worlds; sleek, regulated utopias; and subtle near futures, echoing our current realities and the immediate possibilities ahead. Let's revisit some of those themes, shall we?\u003c/p>\n\u003cp>\u003cstrong>BETTER LIVING THROUGH CIRCUITRY\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13546\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage.jpg\">\u003cimg class=\"wp-image-13546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/robotcollage-1024x358.jpg\" alt=\"robotcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: Metropolis, Blade Runner, Surrogates, Robot and Frank\u003c/figcaption>\u003c/figure>\n\u003cp>The technological advances of the late 19th and early 20th centuries served as inspiration for pioneers of science fiction like Mary Shelley, Jules Verne and H. G. Wells. (And, interestingly, E.M. Forster, whose short story \u003cem>\u003ca href=\"http://archive.ncsa.illinois.edu/prajlich/forster.html\" target=\"_blank\">The Machine Stops\u003c/a>\u003c/em> is an early prediction of the internet, among other things.) They, and the many writers and filmmakers who followed in their stead, turned their eyes toward a future filled with incredible feats of science and engineering. But those stories also carried a sense of unease and a fear of technology taking over - perhaps even destroying - our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That wariness is captured most perfectly when humanity is confronted with artificial intelligence. In many ways, it kicked off with Fritz Lang's \u003cem>Metropolis\u003c/em>, in which a deceptive robotic woman plays a major role in escalating a clash between the wealthy elite and the working class of a glimmering, industrialist city. Although much of Hollywood's \u003ca href=\"http://www.slate.com/articles/health_and_science/nuclear_power/2013/01/nuclear_monster_movies_sci_fi_films_in_the_1950s_were_terrifying_escapism.html\" target=\"_blank\">science fiction output of the 1950s\u003c/a> was fueled by political paranoia and the nuclear menace, the Man vs. Machine stories carried on.\u003c/p>\n\u003cp>One of the biggest landmarks in the genre, Stanley Kubrick's \u003cem>2001: A Space Odyssey\u003c/em> (1968), gave us an iconic antagonist in HAL 9000, a sentient system that would kill out of self-preservation. With the '80s came \u003cem>The Terminator\u003c/em>, successfully combining android warfare with another popular sci-fi element, time travel; the \u003ca href=\"https://www.youtube.com/watch?v=zCZY9Z6WvSY\" target=\"_blank\">hilariously campy\u003c/a> robo-hunter flick \u003cem>Runaway\u003c/em>, starring Tom Selleck and his mustache; and the elegantly imagined \u003cem>Blade Runner\u003c/em>, which made us ponder what it truly means to be a person.\u003c/p>\n\u003cp>But even as plot lines began to take on a more philosophical, compassionate angle, the undertone of Us versus Them remained. Take, for instance, the android starfleet officer, Lt. Commander Data. A beloved character on \u003cem>Star Trek: The Next Generation\u003c/em>, people still often undermined and insulted him, or even questioned his rights as an autonomous individual.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GYp2dx652ho'\n title='//www.youtube.com/embed/GYp2dx652ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With developments in \u003ca href=\"http://news.discovery.com/tech/biotechnology/your-brain-in-2050-neural-implants-and-robotic-limbs-140603.htm\" target=\"_blank\">cybernetic augmentation\u003c/a> and robotics - \u003ca href=\"http://www.wired.com/2014/08/tour-the-labs-where-the-worlds-creepiest-humanoid-robots-are-born/\" target=\"_blank\">humanoid\u003c/a> or \u003ca href=\"http://www.businessinsider.com/silent-robot-cheetah-from-darpa-and-mit-2014-9\" target=\"_blank\">otherwise\u003c/a> - making science fiction a reality, we are in a place to devote more time to contemplating the more subtle implications of humanity, not just \u003ca href=\"http://the-toast.net/2014/07/28/listicles-brief-uneasy-future/\" target=\"_blank\">coexisting\u003c/a> with artificial life, but embracing it. While ultimately falling flat (and venturing too far for my liking into uncanny valley territory with a robotic Bruce Willis), the 2009 film \u003cem>Surrogates\u003c/em> tried to imagine a world where people have chosen to live through cybernetic proxies. Although the surrogates themselves aren't independent machinery, controlled by their human counterparts remotely from the safety of their homes, that sort of augmented reality \u003ca href=\"http://singularityhub.com/2009/08/07/is-surrogates-movie-getting-closer-to-reality/\" target=\"_blank\">isn't entirely far fetched\u003c/a>.\u003c/p>\n\u003cp>We don't have to look too far into the future to ruminate on lives becoming increasingly intertwined with artificial technology. \u003cem>Robot & Frank \u003c/em>(2012) is an understated near-future science fiction, a meditation on aging and memory. The robot in the movie is presented as a caretaker to the elderly Frank (Frank Langella), and while the older man is at first resistant, not only does he develop a friendship with the robot, they even pull off a jewelry heist together. With a renewed zest for life, Frank reconnects with the man he once was, while the robot shows an artificial life's capacity to grow and adapt.\u003c/p>\n\u003cp>In Spike Jonze's \u003cem>Her\u003c/em>, it's 2025 and Theodore Twombly (Joaquin Phoenix) \u003ca href=\"http://blogs.kqed.org/pop/2014/01/10/falling-in-love-with-robots-spike-jonzes-her-asks-could-it-be-so-bad/\" target=\"_blank\">falls in love\u003c/a> with an operating system called Samantha. She may be only a voice, but she jokes, flirts and wonders about being a human being, and we are once again confronted with questions of identity and humanity, questions that have existed long before machines and will continue to exist as long as we do.\u003c/p>\n\u003cp>\u003cstrong>UTOPIA! DYSTOPIA! LET'S CALL THE WHOLE THING OFF!\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13599\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia.jpg\">\u003cimg class=\"wp-image-13599\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/utopiadystopia-1024x327.jpg\" alt=\"utopiadystopia\" width=\"600\" height=\"192\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scenes from The Book of Eli and The Hunger Games\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"http://www.emmytvlegends.org/interviews/people/gene-roddenberry#\" target=\"_blank\">Gene Rodenberry\u003c/a> developed \u003cem>Star Trek\u003c/em> in the 1960s, his vision of the utopian, egalitarian humanity of the 24th century was shaped by a hopeful optimism for people's capacity to create and evolve, and to attain equality and respect between all citizens. (Well, \u003ca href=\"http://bitchmagazine.org/post/star-trek-into-feminism-three-ways-the-sci-fi-series-needs-to-change\" target=\"_blank\">to an extent\u003c/a>.) Overall, the franchise has been sincere in trying to present a truly utopian future. Beyond that, the distinction between a utopia - an ideal, perfect society, as first named by Thomas Merton - and dystopia, its grim cousin, has been quite blurry and that gray area has been fertile ground for many stories.\u003c/p>\n\u003cp>Out of destruction can emerge primal chaos and basic need for survival, or orderly systems that reinforce centuries old social hierarchies. Or both. Those who live outside the protective domes and walled cities occupy a harsh reality (depicted in desaturated tones, naturally), while those fortunate enough to end up within some protective enclave might have more creature comforts and luxuries, but often at a cost to their liberty. \u003cem>Divergent, The Hunger Games, The Book of Eli \u003c/em>and Bong Joon-ho's \u003cem>Snowpiercer\u003c/em> are some of the more recent examples of movies contemplating a disastrous future, but speculative fiction has been fascinated with the nuances for a long while now.\u003c/p>\n\u003cp>The previously mentioned \u003cem>Metropolis\u003c/em> comes to mind, and in 1936, \u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\">H. G. Wells'\u003c/a>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wemRBFFbhKI\" target=\"_blank\"> Things to Come\u003c/a> \u003c/em>charted the potential course of humanity from a global war in 1940 to a technologically advanced but divided society in 2036. Most of us are undoubtedly familiar with George Orwell’s dystopian novel \u003cem>Nineteen Eighty Four\u003c/em>, set in a totalitarian world of few liberties and much government surveillance. (A novel which is \u003ca href=\"http://blogs.kqed.org/pop/2014/09/16/5-old-movies-that-actually-should-be-remade/\" target=\"_blank\">probably due\u003c/a> for an updated film version.)\u003c/p>\n\u003cp>We have seen it all: a hedonistic domed city where none shall live past age 30 (\u003cem>Logan's Run\u003c/em>); a wasteland ruled by savage motorcycle gangs with wild hair (\u003cem>Mad Max\u003c/em> movies); and sophisticated, slick cities where citizens' futures are regulated by their genetic makeup (\u003cem>Gattaca\u003c/em>) or even actions that haven't taken place yet (\u003cem>Minority Report\u003c/em>).\u003c/p>\n\u003cp>There is an ongoing \u003ca href=\"http://www.salon.com/2014/02/26/americas_apocalypse_obsession_partner/\" target=\"_blank\">obsession\u003c/a> with the notion of the apocalypse, and it's \u003ca href=\"http://www.washingtonpost.com/news/act-four/wp/2014/06/06/no-you-do-not-have-to-be-ashamed-of-reading-young-adult-fiction/\" target=\"_blank\">not limited\u003c/a> to teenagers devouring dystopian YA literature. Psychologically, we're \u003ca href=\"http://blogs.scientificamerican.com/observations/2012/12/18/psychology-reveals-the-comforts-of-the-apocalypse/\" target=\"_blank\">wired\u003c/a> to ponder the end times, whether it's a world turned upside down by wars or by nature's hand. While we might do a good job imagining all the worst case scenarios as to \u003cem>how\u003c/em> it can all go down, sci-fi also helps extend our imaginations to what happens \u003cem>after\u003c/em>, and to the notion that humanity might prevail.\u003c/p>\n\u003cp>\u003cstrong>THE FUTURE IS A CATWALK\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13550\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage.jpg\">\u003cimg class=\"wp-image-13550\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/09/fashcollage-1024x358.jpg\" alt=\"fashcollage\" width=\"600\" height=\"210\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-to-R: The Hunger Games: Catching Fire, The Fifth Element, Logan's Run, Mad Max Beyond Thunderdome\u003c/figcaption>\u003c/figure>\n\u003cp>Compelling world building is important to propel the plot, but the clothes people will wear in the future can say just as much as a perfectly designed architectural landscape. People \u003ca href=\"http://www.buzzfeed.com/briangalindo/this-is-what-people-in-1893-imagined-we-would-be-wearing-in#26ywf0p\" target=\"_blank\">have been fascinated\u003c/a> with fashions of the future \u003ca href=\"https://www.youtube.com/watch?v=U9eAiy0IGBI\" target=\"_blank\">for a long while.\u003c/a> It's a delicate balance, to create a futuristic film wardrobe: make it too subtle, and people won't pick up on your intent; make it wildly \u003ca href=\"http://io9.com/5969957/weirdest-and-sexiest-costumes-from-the-original-star-trek/\" target=\"_blank\">outlandish\u003c/a>, and it may become dated (while still making for great Halloween or convention costumes); put \u003ca href=\"http://en.wikipedia.org/wiki/Zardoz\" target=\"_blank\">a red mankini\u003c/a> on Sean Connery and... well, that's exactly what you get.\u003c/p>\n\u003cp>One of my \u003ca href=\"http://hellotailor.blogspot.com/2013/09/dressing-for-apocalypse-how-to-build.html\" target=\"_blank\">pet peeves\u003c/a> is when everyone in the future dresses the same, however. In certain settings - hedonistic domed enclaves, totalitarian communities, militaristic structures - uniformity makes sense. But beyond that, it's nearsighted thinking. Considering the evolving history of fashion, the varieties of subcultures and street style that have existed, and our tendency to regurgitate trends of the past, the future should be a glorious mishmash of individual style, even if it \u003cem>is\u003c/em> picking from scrapheaps of textiles left after a nuclear fall out.\u003c/p>\n\u003cp>From that mass of black suits and silver tunics, some gems have emerged: \u003cem>\u003ca href=\"http://silverscreenmodes.com/?p=211\" target=\"_blank\">Blade Runner\u003c/a>\u003c/em>, with its blend of noir fashion and modern street style; \u003cem>Mad Max\u003c/em>, which gave its desert warriors a look that was both cohesive and distinct for each of the characters; the overall aesthetic of films like \u003cem>Children of Men\u003c/em> or \u003cem>Book of Eli\u003c/em>, showing a world of scarcity and priorities higher than sartorial concerns, but also glimmers of individuality.\u003c/p>\n\u003cp>The fashion industry has had a long standing reciprocal relationship with science fiction films. \u003ca href=\"http://www.vogue.com/873551/dressing-the-hunger-games-costume-designer-judianna-makovsky/\" target=\"_blank\">\u003cem>Hunger Games\u003c/em> costume designer\u003c/a> Judianna Makovsky cites Alexander McQueen and Elsa Schiaparelli as indelible influences on the style of spectacle-obsessed citizens of Panem's Capitol. Couturiers' involvement in film hasn't be limited to serving as just inspiration, either. Hardy Amies, Saville Row based clothier for Queen Elizabeth II, was brought on board by Stanley Kubrick to create costumes for \u003cem>2001: A Space Odyssey\u003c/em>; Jean Paul Gaultier is responsible for dreaming up \u003ca href=\"http://onthisdayinfashion.com/?p=13466\" target=\"_blank\">more than 900\u003c/a> of the over-the-top, colorful costumes for \u003cem>The Fifth Element\u003c/em>; and even though his designs didn't make the cut, Gianni Versace came up with some \u003ca href=\"http://io9.com/5933676/unused-judge-dredd-concept-art-says-my-codpiece-is-the-law\" target=\"_blank\">pretty extravagant\u003c/a> sketches for \u003cem>Judge Dredd\u003c/em>.\u003c/p>\n\u003cp>And just as science fiction has had an obvious impact on our approach to \u003ca href=\"http://arstechnica.com/apple/2010/08/how-star-trek-artists-imagined-the-ipad-23-years-ago/\" target=\"_blank\">product design\u003c/a>, so has it had its influence - direct or subtle - on the world of fashion. From Thierry Mugler's sexy robot in the video for George Michael's \u003cem>\u003ca href=\"http://fierth.com/2013/03/thierry-muglers-original-unseen-video-for-too-funky-leaked-21-years-later/\" target=\"_blank\">Too Funky\u003c/a>\u003c/em>, to Gareth Pugh and Junya Watanabe's \u003ca href=\"http://weburbanist.com/2013/01/28/futuristic-fashion-35-out-of-this-world-designer-looks/\" target=\"_blank\">sculptural looks\u003c/a>, the futuristic and fantastical has made its mark on the runway.\u003c/p>\n\u003cp>Things get even more exciting when we think of garments as serving functions beyond adornment. Dutch designer \u003ca href=\"http://www.anoukwipprecht.nl/projects.html\" target=\"_blank\">Annouk Wiprecht\u003c/a> creates fashion armor that serves as an interactive link between the wearer and their environment: dresses release soft plumes of smoke or activate defensive mechanical spider legs attached to the shoulders, based on the proximity of nearby people, while another garment, Intimacy, turns transparent in response to the wearer's arousal and heartbeat. While slightly off-putting for anyone uncomfortable with needles, Israeli designer \u003ca href=\"http://design-milk.com/naomi-kizhners-parasitic-powered-jewelry/\" target=\"_blank\">Naomi Kizhner\u003c/a> has come up with a concept for a small collection of bioelectrical jewelry that would react to the body's energy. And when it comes to textiles, there are \u003ca href=\"http://www.forbes.com/sites/forbesstylefile/2014/05/07/what-is-the-future-of-fabric-these-smart-textiles-will-blow-your-mind/\" target=\"_blank\">\"smart\" fabrics\u003c/a> that can be sprayed on the body or be controlled by mobile devices, in general elevating the stakes when it comes to science fiction's ability to outstrip reality.\u003c/p>\n\u003cp>\u003cstrong>NEAR FUTURE\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lk_UElPrW6A'\n title='//www.youtube.com/embed/lk_UElPrW6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over time, I've developed more of an appreciation for science fiction that echoes the immediate realities of our world - films like the previously mentioned \u003cem>Robot and Frank\u003c/em> and \u003cem>Her\u003c/em>. As author \u003ca href=\"http://jessicacharlesworth.com/2014/why-sci-fi-is-obsessed-with-the-near-future-chicago-tribune-interview/\" target=\"_blank\">Richard Powers says\u003c/a>, \"All we have to do is explore the cascades of futures already set in motion.\"\u003c/p>\n\u003cp>One of my favorite recent bits of sci-fi, combining all the elements mentioned here, is the Canadian show \u003cem>Continuum\u003c/em>. The hero is Kiera Cameron (Rachel Nichols), a \"Protector\" from 2077 transported back to our present day, when a group of anti-corporation terrorists, Liber8, use a time travel device to escape execution. In her time, Cameron is part of a privatized, cybernetically augmented police force in a world where the Corporate Congress of oligarchs reigns supreme and citizen surveillance is the routine. As she tries to navigate Vancouver in 2012, Cameron begins to question all that she believed in and finds an unlikely ally in a young man, Alec Sadler, who will in fact become the same corporate king that Liber8 blame for the erosion of civil liberties in the future. That is, if the future can't be altered in the present.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While still requiring some suspension of disbelief - time travel is one of those things that, no matter how technologically advanced we get, is still hard to fathom - the excitement of the series lies in the way it shows a realistic present with future possibilities branching out. But as much as I find exercises in speculation on our immediate future fascinating, I'm also more than a little bit excited about Christopher Nolan's \u003ca href=\"http://www.scifinow.co.uk/blog/where-are-all-the-space-exploration-films/\" target=\"_blank\">upcoming film \u003cem>Interstellar\u003c/em>\u003c/a>, which promises to go back to what enthralled so many of us in science fiction in the first place - exploration of space. Whether looking a few years ahead, or some light years away, one thing is clear: for sci-fi storytellers, the future is wide open.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/13484/a-brief-history-of-the-future-as-seen-in-movies","authors":["2520"],"categories":["pop_51"],"tags":["pop_860","pop_385","pop_648"],"featImg":"pop_13863","label":"pop"},"pop_9562":{"type":"posts","id":"pop_9562","meta":{"index":"posts_1591205157","site":"pop","id":"9562","score":null,"sort":[1383746416000]},"guestAuthors":[],"slug":"dissecting-the-anthem-for-the-end-of-the-world","title":"The Rise of the Apocalyptic Pop Anthem","publishDate":1383746416,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_9572\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/11/06/dissecting-the-anthem-for-the-end-of-the-world/apoc/\" rel=\"attachment wp-att-9572\">\u003cimg class=\"size-full wp-image-9572\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/apoc.png\" alt=\"Photo: Wiki Commons\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/11/apoc.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/11/apoc-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Collision_d%27une_com%C3%A8te.jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Pop music is changing. The jury is still out on whether for the better or worse. But one type of song I’m hearing more and more frequently on the radio and out and about is the anthem. I’m not talking your run-of-the-mill favorite song; I’m referring to those enormous tunes of triumph that you might hear as you shower or do some early holiday shopping at Zara. They are everywhere and taking over the radio waves. It’s as though record producers are telling these artists they must have at least one anthem on their record. And the artist is all like, duh. And the record producer is like, I’m not sure if you understand what I’m talking about. I’m talking about the end of the world. And the artist’s eyes glaze over.\u003c/p>\n\u003cp>\u003cstrong>I. What is an anthem?\u003c/strong>\u003cbr>\nThe term has taken on such a wide range of definitions you can throw it around anywhere in a sentence and it will probably work. For example: “If you give me $20, I’ll buy you an anthem,” or “Hey, you stole my anthem!” Many of the first definitions I’ve read describe it in a biblical sense comparing it to the likes of psalms and hymns. Reading on, I discovered there are also some major connections to gladness, loyalty, and importance. All of these ring true in the anthems we hear on the radio (rather religious, more spiritual). And they are becoming more and more ubiquitous. Again, it’s important to realize the anthem does not refer to Ladies Night Out with Margaritas, and while it can soundtrack an important event, it is more used for the day that comes when the sun explodes in the sky and there is no longer such a thing as the ground.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/3KkUeRPjc-Y\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>II. What are the characteristics of an anthem?\u003c/strong>\u003cbr>\nMumford & Sons is the band today that I believe is out to perfect the anthem. While many refer to the band as folk rock revivalists or American wannabes, each song of theirs contains elements of this apocalypse I speak of. Listen to the ever-popular tune “The Cave” (above) and tell me what you hear. The song begins softly with just guitar and singer Marcus Mumford. A twinkly piano enters and he begins to sing about hope and you’re thinking how nice it is. Then the rest of the band joins in like a choir behind Mumford singing now about strength and change and knowing who you truly are. And here is where the song takes off and shows what it can do as an anthem: a soaring, foot stomping chant of a chorus, maniacal banjo, words of fortitude and courage, and within the last minute or so, the subtle yet absolute inclusion of horns that show up just as the song, and the listener, truly lose their minds.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/YplXW2q1uXI\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>III. Who else out there has anthems?\u003c/strong>\u003cbr>\nLady Gaga is currently all over the place as her new album drops next week but leaked this week. It would be obvious and appropriate to point to one of her last singles, “\u003ca href=\"http://youtu.be/QeWBS0JBNzQ\">Edge of Glory,\u003c/a>” as being one great example of an anthem. Even in the title, you know what you are in for. The song itself contains an explosive, desperate chorus and of course, the token horns at the end. But it is another Lady Gaga song, “Hair,” that really does it for me (and one I believe to arguably be her best song). Although not released as a single, “Hair” contains just the right elements to make it one glory-bound anthem: beginning of horns (!), self-affirming and soaring pre-chorus and chorus (!), and lyrics to chant as the sky opens up. “I’ve had enough. This is my prayer,” Gaga sings. “And I’ll die living just as free as my hair.” The song is a true testament to pop music as an otherworldly art form. Other current anthems include Avicii’s electro-country hit “Wake Me Up,” and Florence + The Machine’s booming “Cosmic Love,” two tunes you might hear as the comets come in floods and all that remains are you and your memories.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/IcrbM1l_BoI\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong> IV. Why are anthems so popular? \u003c/strong>\u003cbr>\nAs humans, we contain a variety of driving forces within us that must surface. Among them is the energy to affirm that we are who we are and that we have hope. Our innate response to the world is one of positivity. What better way to expel this brilliant energy than through music, and especially through pop music because it can arguably reach the largest audience? Sure, we recently went through the whole end of the world thing with Y2K and then again with 2012 and nothing happened. And it’s likely nothing will. But on the off chance that our magnetic fields fail us, we will be ready. Anthems playing. Hope blazing.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/2EIeUlvHAiM\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Breaking down the kind of song you might need when the comets come in floods.","status":"publish","parent":0,"modified":1383793721,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":865},"headData":{"title":"The Rise of the Apocalyptic Pop Anthem | KQED","description":"Breaking down the kind of song you might need when the comets come in floods.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"9562 http://blogs.kqed.org/pop/?p=9562","disqusUrl":"https://ww2.kqed.org/pop/2013/11/06/dissecting-the-anthem-for-the-end-of-the-world/","disqusTitle":"The Rise of the Apocalyptic Pop Anthem","path":"/pop/9562/dissecting-the-anthem-for-the-end-of-the-world","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_9572\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/11/06/dissecting-the-anthem-for-the-end-of-the-world/apoc/\" rel=\"attachment wp-att-9572\">\u003cimg class=\"size-full wp-image-9572\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/11/apoc.png\" alt=\"Photo: Wiki Commons\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/11/apoc.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/11/apoc-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Collision_d%27une_com%C3%A8te.jpg\">Wiki Commons\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Pop music is changing. The jury is still out on whether for the better or worse. But one type of song I’m hearing more and more frequently on the radio and out and about is the anthem. I’m not talking your run-of-the-mill favorite song; I’m referring to those enormous tunes of triumph that you might hear as you shower or do some early holiday shopping at Zara. They are everywhere and taking over the radio waves. It’s as though record producers are telling these artists they must have at least one anthem on their record. And the artist is all like, duh. And the record producer is like, I’m not sure if you understand what I’m talking about. I’m talking about the end of the world. And the artist’s eyes glaze over.\u003c/p>\n\u003cp>\u003cstrong>I. What is an anthem?\u003c/strong>\u003cbr>\nThe term has taken on such a wide range of definitions you can throw it around anywhere in a sentence and it will probably work. For example: “If you give me $20, I’ll buy you an anthem,” or “Hey, you stole my anthem!” Many of the first definitions I’ve read describe it in a biblical sense comparing it to the likes of psalms and hymns. Reading on, I discovered there are also some major connections to gladness, loyalty, and importance. All of these ring true in the anthems we hear on the radio (rather religious, more spiritual). And they are becoming more and more ubiquitous. Again, it’s important to realize the anthem does not refer to Ladies Night Out with Margaritas, and while it can soundtrack an important event, it is more used for the day that comes when the sun explodes in the sky and there is no longer such a thing as the ground.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/3KkUeRPjc-Y\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>II. What are the characteristics of an anthem?\u003c/strong>\u003cbr>\nMumford & Sons is the band today that I believe is out to perfect the anthem. While many refer to the band as folk rock revivalists or American wannabes, each song of theirs contains elements of this apocalypse I speak of. Listen to the ever-popular tune “The Cave” (above) and tell me what you hear. The song begins softly with just guitar and singer Marcus Mumford. A twinkly piano enters and he begins to sing about hope and you’re thinking how nice it is. Then the rest of the band joins in like a choir behind Mumford singing now about strength and change and knowing who you truly are. And here is where the song takes off and shows what it can do as an anthem: a soaring, foot stomping chant of a chorus, maniacal banjo, words of fortitude and courage, and within the last minute or so, the subtle yet absolute inclusion of horns that show up just as the song, and the listener, truly lose their minds.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/YplXW2q1uXI\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>III. Who else out there has anthems?\u003c/strong>\u003cbr>\nLady Gaga is currently all over the place as her new album drops next week but leaked this week. It would be obvious and appropriate to point to one of her last singles, “\u003ca href=\"http://youtu.be/QeWBS0JBNzQ\">Edge of Glory,\u003c/a>” as being one great example of an anthem. Even in the title, you know what you are in for. The song itself contains an explosive, desperate chorus and of course, the token horns at the end. But it is another Lady Gaga song, “Hair,” that really does it for me (and one I believe to arguably be her best song). Although not released as a single, “Hair” contains just the right elements to make it one glory-bound anthem: beginning of horns (!), self-affirming and soaring pre-chorus and chorus (!), and lyrics to chant as the sky opens up. “I’ve had enough. This is my prayer,” Gaga sings. “And I’ll die living just as free as my hair.” The song is a true testament to pop music as an otherworldly art form. Other current anthems include Avicii’s electro-country hit “Wake Me Up,” and Florence + The Machine’s booming “Cosmic Love,” two tunes you might hear as the comets come in floods and all that remains are you and your memories.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/IcrbM1l_BoI\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong> IV. Why are anthems so popular? \u003c/strong>\u003cbr>\nAs humans, we contain a variety of driving forces within us that must surface. Among them is the energy to affirm that we are who we are and that we have hope. Our innate response to the world is one of positivity. What better way to expel this brilliant energy than through music, and especially through pop music because it can arguably reach the largest audience? Sure, we recently went through the whole end of the world thing with Y2K and then again with 2012 and nothing happened. And it’s likely nothing will. But on the off chance that our magnetic fields fail us, we will be ready. Anthems playing. Hope blazing.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/2EIeUlvHAiM\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/9562/dissecting-the-anthem-for-the-end-of-the-world","authors":["2416"],"categories":["pop_4","pop_1041"],"tags":["pop_1335","pop_860","pop_25"],"featImg":"pop_9572","label":"pop"},"pop_5541":{"type":"posts","id":"pop_5541","meta":{"index":"posts_1591205157","site":"pop","id":"5541","score":null,"sort":[1370437205000]},"guestAuthors":[],"slug":"apocalypse-now-our-love-affair-with-the-end","title":"Apocalypse Now: Our Love Affair with the End","publishDate":1370437205,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_5558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/theend/\" rel=\"attachment wp-att-5558\">\u003cimg class=\"size-full wp-image-5558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/theend.jpg\" alt=\"This is the End looks potentially like it could be the funniest apocalypse movie ever\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>This is the End\u003c/em> looks potentially like it could be the funniest apocalypse movie ever. Photo: Sony Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>2013 is definitely the year to take stock of your supplies, support NPR to get that emergency survival pack and gird your loins in preparation for the end of the world. If movies are any sign of what’s to come, it’s the real year of the apocalypse. With \u003cem>\u003ca title=\"This is the End\" href=\"http://www.thisistheend.com/site/\" target=\"_blank\">This is the End\u003c/a>\u003c/em> (June 12) and \u003cem>\u003ca title=\"WWZ\" href=\"http://www.worldwarzmovie.com\" target=\"_blank\">World War Z\u003c/a>\u003c/em> (June 21) opening just around the corner, \u003cem>\u003ca title=\"after earth\" href=\"http://youtu.be/CZIt20emgLY\" target=\"_blank\">After Earth\u003c/a>\u003c/em> and \u003cem>\u003ca title=\"Oblivion\" href=\"http://youtu.be/XmIIgE7eSak\" target=\"_blank\">Oblivion\u003c/a>\u003c/em> in the rearview, and \u003ca title=\"2013 movies\" href=\"http://www.vibe.com/photo-gallery/10-best-post-apocalyptic-movies-2013\" target=\"_blank\">a bunch of stuff still waiting for us\u003c/a>, we might just be heading towards the end. I know we had sad/funny \u003ca title=\"Seeking a Friend\" href=\"http://youtu.be/T43InzvBm-k\" target=\"_blank\">\u003cem>Seeking a Friend for the End of the World\u003c/em>\u003c/a>, the slowest movie on earth \u003cem>\u003ca title=\"Melancholia\" href=\"http://youtu.be/fcZWZhUozr4\" target=\"_blank\">Melancholia\u003c/a>\u003c/em> and super silly Nazis on the moon in \u003cem>\u003ca title=\"Iron Sky\" href=\"http://youtu.be/Py_IndUbcxc\" target=\"_blank\">Iron Sky\u003c/a>\u003c/em> last year, but that was soft stuff. Of course, the end of the world might not really be coming, but it’s starting to look like we are really ready, and maybe even looking forward to it.\u003c/p>\n\u003cfigure id=\"attachment_5543\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\" rel=\"attachment wp-att-5543\">\u003cimg class=\"size-full wp-image-5543 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg\" alt=\"billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO-400x266.jpeg 400w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\">The Hangline\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>For some research, I looked up \u003ca title=\"wiki end\" href=\"http://en.wikipedia.org/wiki/End_Time\" target=\"_blank\">how Wikipedia defines ‘apocalypse’\u003c/a>, I was quickly lost in a sea of religious lists of how the world was presumed to end. It gets awfully specific: the world will end when this guy dies, or when you stop listening to what this guy says, etc. Religions are pretty self-serving after all, so it makes sense to claim yours is the only one to follow that will keep molten lava from burning your legs off in a myth of impending doom. One thing was certain in my half-attempt at researching the apocalypse for you; almost every culture believed or believes in it, including ancient Greece, the Vikings and surprisingly, Buddhists. And though the Mayans were proved wrong last year, looking to the secular channel of science reveals that even Isaac Newton said we are all probably going to die in 2060. So, we can look forward to another round of cult leader-sponsored billboards like in 2012, and then if we do make it, maybe a revival of an embarrassed Baptist term for the non-apocalypse in 1843, “\u003ca title=\"Big Disappointment\" href=\"http://en.wikipedia.org/wiki/Great_Disappointment\" target=\"_blank\">The Big Disappointment\u003c/a>”, muttered by anyone in the future who was hoping their next door neighbors would die.\u003c/p>\n\u003cp>But what does our contemporary cinematic fascination with the end even mean? Could it be that even as we become more and more ambivalent about religion around the globe, we kind of long for an end to things anyway? Or is it actually, deep down inside, a fascination with a concept instilled in humanity -- a superiority complex that assumes whomever we are, we’d be the ones to make it out alive? Picture any movie where bad things are happening; aren’t we always along for the ride with the survivors? Apocalypse movies are basically assurances in our own indestructibility and an insurance policy that as long as we have a relatable hero in the frame, we’ll be OK, too.\u003c/p>\n\u003cp>Alright, I know, it’s just a movie. I know that when you watch \u003cem>Night of the Living Dead\u003c/em>, you don’t actually believe it’s happening for real. But the reason we watch movies is to be taken on a journey, to be told a story, and to live in a more exciting plot than the ones we find ourselves in daily. Perhaps the apocalypse is not as fantastic as \u003cem>The Wizard of Oz\u003c/em> type of movies we watched as kids, but those of us with darker souls can still revel in hugely varied end-of-times calamities for a two-hour fantasy ride. Want to get caught up in the reality of global warming but turn off the movie and pretend it’s all OK? Watch \u003cem>The Day After Tomorrow\u003c/em>. Get tired of everything, even taking a bath, and just wish a meteor would wipe out everything including you? \u003cem>Melancholia\u003c/em> will work. Want to live through pretty accurate social commentary on how everyone sucks, even when there’s fewer of you, and press on in hopes of living off-the-grid in a socialist fantasy? \u003cem>Children of Men\u003c/em>, \u003cem>28 Days Later\u003c/em>, or \u003cem>The Road\u003c/em> will do the trick. The options are endless! You still have aliens vs. patriotism, sexy ‘you’re-the-last-one-on-earth-and-you’re-hot’ romance, and fantasy-in-a-fantasy \u003cem>Matrix\u003c/em> scenarios, to name a few.\u003c/p>\n\u003cfigure id=\"attachment_5569\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/ryan-gosling-the-place-beyond-the-pines-05-600x400/\" rel=\"attachment wp-att-5569\">\u003cimg class=\"size-full wp-image-5569\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg\" alt=\"Photo: Focus Features\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damn, boy, you're worth the ticket price. Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp>Even if it’s not very cultured to admit, the truth is that I get way more excited about apocalypse movies than any other film genre. I’d rather be scared of the undead than thinking about my fractured relationship with my parents or watching Ashton Kutcher somehow get progressively more annoying. Plus, I am a totally cheap bastard and I refuse to pay what amounts to the price of a decent bottle of wine to see a movie with other loud people when I could see it on Netflix alone a year later, so I don’t go to the movies unless A) it’s scary and hopefully violent and explosive, or B) has Ryan Gosling covered in crappy tattoos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Being that the previews promise explosions, severed limbs, and panic-stricken mobs, I am 100% excited to see both \u003cem>This is the End\u003c/em> and \u003cem>World War Z\u003c/em> in the actual theater. Both movies use either hilarious comedians (Michael Cera, Jonah Hill, Craig Robinson) or serious actors (Brad Pitt and the ginger in \u003cem>The Killing\u003c/em>) in silly action roles. Both promise bad dialogue and mega summer-movie-style action to play up the wink-wink tropes of the legacy of cult classics, and to scare the piss out of you. I also can’t get enough bromance stuff from guys like Seth Rogen or dark things about zombies, which \u003cem>World War Z\u003c/em> (hopefully smartly?) plays down in their description of a mysterious “pandemic.\" WWZ is also compared to the addictive TV show \u003cem>The Walking Dead\u003c/em> because of planned sequels. I can’t imagine them all being great, but I have my sweaty cash in hand (what is it these days, like $14, $15??) and I am ready to go into survival mode.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=HcwTxRuq-uk&w=560&h=315]\u003c/div>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=MNs0vQgCWY0&w=560&h=315]\u003c/div>\n\n","blocks":[],"excerpt":"With two new movies \"This is the End\" and \"World War Z\" coming in June, the end of the world looks better than ever.","status":"publish","parent":0,"modified":1370447217,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":1106},"headData":{"title":"Apocalypse Now: Our Love Affair with the End | KQED","description":"With two new movies "This is the End" and "World War Z" coming in June, the end of the world looks better than ever.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"5541 http://blogs.kqed.org/pop/?p=5541","disqusUrl":"https://ww2.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/","disqusTitle":"Apocalypse Now: Our Love Affair with the End","path":"/pop/5541/apocalypse-now-our-love-affair-with-the-end","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_5558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/theend/\" rel=\"attachment wp-att-5558\">\u003cimg class=\"size-full wp-image-5558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/theend.jpg\" alt=\"This is the End looks potentially like it could be the funniest apocalypse movie ever\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>This is the End\u003c/em> looks potentially like it could be the funniest apocalypse movie ever. Photo: Sony Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>2013 is definitely the year to take stock of your supplies, support NPR to get that emergency survival pack and gird your loins in preparation for the end of the world. If movies are any sign of what’s to come, it’s the real year of the apocalypse. With \u003cem>\u003ca title=\"This is the End\" href=\"http://www.thisistheend.com/site/\" target=\"_blank\">This is the End\u003c/a>\u003c/em> (June 12) and \u003cem>\u003ca title=\"WWZ\" href=\"http://www.worldwarzmovie.com\" target=\"_blank\">World War Z\u003c/a>\u003c/em> (June 21) opening just around the corner, \u003cem>\u003ca title=\"after earth\" href=\"http://youtu.be/CZIt20emgLY\" target=\"_blank\">After Earth\u003c/a>\u003c/em> and \u003cem>\u003ca title=\"Oblivion\" href=\"http://youtu.be/XmIIgE7eSak\" target=\"_blank\">Oblivion\u003c/a>\u003c/em> in the rearview, and \u003ca title=\"2013 movies\" href=\"http://www.vibe.com/photo-gallery/10-best-post-apocalyptic-movies-2013\" target=\"_blank\">a bunch of stuff still waiting for us\u003c/a>, we might just be heading towards the end. I know we had sad/funny \u003ca title=\"Seeking a Friend\" href=\"http://youtu.be/T43InzvBm-k\" target=\"_blank\">\u003cem>Seeking a Friend for the End of the World\u003c/em>\u003c/a>, the slowest movie on earth \u003cem>\u003ca title=\"Melancholia\" href=\"http://youtu.be/fcZWZhUozr4\" target=\"_blank\">Melancholia\u003c/a>\u003c/em> and super silly Nazis on the moon in \u003cem>\u003ca title=\"Iron Sky\" href=\"http://youtu.be/Py_IndUbcxc\" target=\"_blank\">Iron Sky\u003c/a>\u003c/em> last year, but that was soft stuff. Of course, the end of the world might not really be coming, but it’s starting to look like we are really ready, and maybe even looking forward to it.\u003c/p>\n\u003cfigure id=\"attachment_5543\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\" rel=\"attachment wp-att-5543\">\u003cimg class=\"size-full wp-image-5543 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg\" alt=\"billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO-400x266.jpeg 400w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\">The Hangline\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>For some research, I looked up \u003ca title=\"wiki end\" href=\"http://en.wikipedia.org/wiki/End_Time\" target=\"_blank\">how Wikipedia defines ‘apocalypse’\u003c/a>, I was quickly lost in a sea of religious lists of how the world was presumed to end. It gets awfully specific: the world will end when this guy dies, or when you stop listening to what this guy says, etc. Religions are pretty self-serving after all, so it makes sense to claim yours is the only one to follow that will keep molten lava from burning your legs off in a myth of impending doom. One thing was certain in my half-attempt at researching the apocalypse for you; almost every culture believed or believes in it, including ancient Greece, the Vikings and surprisingly, Buddhists. And though the Mayans were proved wrong last year, looking to the secular channel of science reveals that even Isaac Newton said we are all probably going to die in 2060. So, we can look forward to another round of cult leader-sponsored billboards like in 2012, and then if we do make it, maybe a revival of an embarrassed Baptist term for the non-apocalypse in 1843, “\u003ca title=\"Big Disappointment\" href=\"http://en.wikipedia.org/wiki/Great_Disappointment\" target=\"_blank\">The Big Disappointment\u003c/a>”, muttered by anyone in the future who was hoping their next door neighbors would die.\u003c/p>\n\u003cp>But what does our contemporary cinematic fascination with the end even mean? Could it be that even as we become more and more ambivalent about religion around the globe, we kind of long for an end to things anyway? Or is it actually, deep down inside, a fascination with a concept instilled in humanity -- a superiority complex that assumes whomever we are, we’d be the ones to make it out alive? Picture any movie where bad things are happening; aren’t we always along for the ride with the survivors? Apocalypse movies are basically assurances in our own indestructibility and an insurance policy that as long as we have a relatable hero in the frame, we’ll be OK, too.\u003c/p>\n\u003cp>Alright, I know, it’s just a movie. I know that when you watch \u003cem>Night of the Living Dead\u003c/em>, you don’t actually believe it’s happening for real. But the reason we watch movies is to be taken on a journey, to be told a story, and to live in a more exciting plot than the ones we find ourselves in daily. Perhaps the apocalypse is not as fantastic as \u003cem>The Wizard of Oz\u003c/em> type of movies we watched as kids, but those of us with darker souls can still revel in hugely varied end-of-times calamities for a two-hour fantasy ride. Want to get caught up in the reality of global warming but turn off the movie and pretend it’s all OK? Watch \u003cem>The Day After Tomorrow\u003c/em>. Get tired of everything, even taking a bath, and just wish a meteor would wipe out everything including you? \u003cem>Melancholia\u003c/em> will work. Want to live through pretty accurate social commentary on how everyone sucks, even when there’s fewer of you, and press on in hopes of living off-the-grid in a socialist fantasy? \u003cem>Children of Men\u003c/em>, \u003cem>28 Days Later\u003c/em>, or \u003cem>The Road\u003c/em> will do the trick. The options are endless! You still have aliens vs. patriotism, sexy ‘you’re-the-last-one-on-earth-and-you’re-hot’ romance, and fantasy-in-a-fantasy \u003cem>Matrix\u003c/em> scenarios, to name a few.\u003c/p>\n\u003cfigure id=\"attachment_5569\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/ryan-gosling-the-place-beyond-the-pines-05-600x400/\" rel=\"attachment wp-att-5569\">\u003cimg class=\"size-full wp-image-5569\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg\" alt=\"Photo: Focus Features\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damn, boy, you're worth the ticket price. Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp>Even if it’s not very cultured to admit, the truth is that I get way more excited about apocalypse movies than any other film genre. I’d rather be scared of the undead than thinking about my fractured relationship with my parents or watching Ashton Kutcher somehow get progressively more annoying. Plus, I am a totally cheap bastard and I refuse to pay what amounts to the price of a decent bottle of wine to see a movie with other loud people when I could see it on Netflix alone a year later, so I don’t go to the movies unless A) it’s scary and hopefully violent and explosive, or B) has Ryan Gosling covered in crappy tattoos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being that the previews promise explosions, severed limbs, and panic-stricken mobs, I am 100% excited to see both \u003cem>This is the End\u003c/em> and \u003cem>World War Z\u003c/em> in the actual theater. Both movies use either hilarious comedians (Michael Cera, Jonah Hill, Craig Robinson) or serious actors (Brad Pitt and the ginger in \u003cem>The Killing\u003c/em>) in silly action roles. Both promise bad dialogue and mega summer-movie-style action to play up the wink-wink tropes of the legacy of cult classics, and to scare the piss out of you. I also can’t get enough bromance stuff from guys like Seth Rogen or dark things about zombies, which \u003cem>World War Z\u003c/em> (hopefully smartly?) plays down in their description of a mysterious “pandemic.\" WWZ is also compared to the addictive TV show \u003cem>The Walking Dead\u003c/em> because of planned sequels. I can’t imagine them all being great, but I have my sweaty cash in hand (what is it these days, like $14, $15??) and I am ready to go into survival mode.\u003c/p>\n\u003cdiv class=\"single-video\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HcwTxRuq-uk'\n title='//www.youtube.com/embed/HcwTxRuq-uk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"single-video\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MNs0vQgCWY0'\n title='//www.youtube.com/embed/MNs0vQgCWY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/5541/apocalypse-now-our-love-affair-with-the-end","authors":["2418"],"categories":["pop_51"],"tags":["pop_860","pop_867","pop_861","pop_865","pop_866","pop_863","pop_862","pop_864"],"featImg":"pop_5558","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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