WEBVTT - Futures That Never Were

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<v Speaker 1>Welcome to Tech Stuff, a production from I Heart Radio.

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<v Speaker 1>Hey there, and welcome to tech Stuff. I'm your host,

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<v Speaker 1>Jonathan Strickland. I'm an executive producer with I Heart Radio

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<v Speaker 1>and love all things tech, and I also love speculative fiction,

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<v Speaker 1>and I really love science fiction. No big shock there,

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<v Speaker 1>I'm sure I love stories that involve cool and futuristic

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<v Speaker 1>technology and you know, technically, stories that they play out

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<v Speaker 1>in such a way that, if done well, it says

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<v Speaker 1>something interesting about what it is to be human when

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<v Speaker 1>you get down to it. A lot of science fiction

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<v Speaker 1>isn't so much about the pew pew lasers and the

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<v Speaker 1>zoom zoom spaceships. It's really more about stuff like resilience

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<v Speaker 1>and hope and hubrists and enmity and other very you know,

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<v Speaker 1>human qualities. So when you strip it all away, a

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<v Speaker 1>good science fiction story you should tell us more about,

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<v Speaker 1>you know, humanity. Now, when you create a science fiction story,

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<v Speaker 1>you have to set it somewhere and some win. And

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<v Speaker 1>that's what brings us to today's topic. I wanted to

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<v Speaker 1>talk about some science fiction stories that were set in

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<v Speaker 1>the years two thousand to two thousand twenty one, So

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<v Speaker 1>over the last twenty one years, now, not necessarily written

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<v Speaker 1>during that time, but set in that time, like this

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<v Speaker 1>would be the futuristic setting, because sometimes it's fun to

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<v Speaker 1>go back and talk about some of the wild things

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<v Speaker 1>that writers imagined happening by now. And sometimes they predict

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<v Speaker 1>stuff that comes true in some form or another. A

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<v Speaker 1>lot of times they predict stuff that we just don't

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<v Speaker 1>have yet. And I don't mean for this to be

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<v Speaker 1>a Hey, isn't it fun that they thought we would

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<v Speaker 1>be using holograms by now? Although there are a couple

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<v Speaker 1>of instances of that in this episode, but it's not

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<v Speaker 1>meant to poke fun at the futurists who were imagining

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<v Speaker 1>the world. In some cases, the writer clearly was thinking,

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<v Speaker 1>what is a year that's far enough out from today

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<v Speaker 1>that this could seem plausible. In other cases, the writer

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<v Speaker 1>might just have arbitrarily picked a year because the year

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<v Speaker 1>itself isn't really what's important, Like you might say in

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<v Speaker 1>the distant year of two thousand nine, but what you

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<v Speaker 1>really just mean is at a time that's in the future, right,

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<v Speaker 1>So in some cases, I think a lot of science

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<v Speaker 1>fiction stories, when they have a year, you might as

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<v Speaker 1>well just replace that year with, you know, in the future.

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<v Speaker 1>But we're gonna ignore that, and we're gonna poke fun

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<v Speaker 1>at some movies and some of their predictions, and not

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<v Speaker 1>just movies, other stories too. So I'm gonna look at

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<v Speaker 1>a lot of stories that were produced before the year

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<v Speaker 1>the story is set in. So, in other words, these

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<v Speaker 1>stories have to at least on some level make predictions

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<v Speaker 1>about the future. A lot of science fiction films are

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<v Speaker 1>set the same year they came out. A lot of

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<v Speaker 1>science fiction stories are set the same year they come out,

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<v Speaker 1>so those become more like alternate present rather than futuristic.

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<v Speaker 1>So I'm ignoring all those, and I'm really focusing on

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<v Speaker 1>ones that are more about projecting into the future. This

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<v Speaker 1>also is not going to be an exhaustive list, either,

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<v Speaker 1>because there have been a lot of stories that have

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<v Speaker 1>been set between two thousand and two thousand twenty one,

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<v Speaker 1>not as many as I thought there would be, or

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<v Speaker 1>at least, based upon my research, not as many as

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<v Speaker 1>I thought there would be. But there's still quite a few,

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<v Speaker 1>and I'm gonna try and stick with ones that are

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<v Speaker 1>either really famous or just super fun examples. So I

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<v Speaker 1>may very well skip over some of your favorites. For that,

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<v Speaker 1>I apologize I cannot cover them. All, but let's get

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<v Speaker 1>to it um And also before I get into the

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<v Speaker 1>twenty first century, let's have a couple of honorable mentions

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<v Speaker 1>in here. For example, George Orwell's Four is a phenomenal novel.

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<v Speaker 1>It describes the world as being governed by giant, totalitarian

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<v Speaker 1>authorities who essentially have divvied up the world. And it's

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<v Speaker 1>a world that's constantly under surveillance, like the government is

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<v Speaker 1>looking at everything that's going on, and the government tries

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<v Speaker 1>to regulate not just what people are allowed to do,

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<v Speaker 1>but even so much as how people are allowed to think.

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<v Speaker 1>It's a pretty terrifying story, and it's one I think

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<v Speaker 1>we can still recognize as being relevant today, whether it's

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<v Speaker 1>in the form of authoritarian governments. I mean, you can

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<v Speaker 1>look at some of China's initiatives and say, like, oh,

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<v Speaker 1>I see some similarities there. You can also arguably look

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<v Speaker 1>at the U k. And the United States and say

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<v Speaker 1>there's some elements there too. We also have seen the

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<v Speaker 1>rise of mega powerful corporations, which in some ways have

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<v Speaker 1>taken on some of the aspects that Orwell had attributed

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<v Speaker 1>to governments, Like we're seeing companies take on that kind

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<v Speaker 1>of of role and take on that kind of power.

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<v Speaker 1>We're almost four decades decades out from the setting of

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<v Speaker 1>that novel, and you know, we haven't quite reached the

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<v Speaker 1>level of dystopia described in the book, but you can

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<v Speaker 1>make a decent argument that a lot of the elements

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<v Speaker 1>that were or well described have kind of crept into

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<v Speaker 1>our actual world today. And granted, you know, some of

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<v Speaker 1>those were things that he was observing at the time

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<v Speaker 1>he wrote it, which was well before. Another honorable mention

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<v Speaker 1>I have to add in here is the Star Trek

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<v Speaker 1>original series episode Space Seed. The episode first aired in

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<v Speaker 1>nineteen sixty seven, and the year in which the episode

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<v Speaker 1>happens is supposed to be twenty two sixty seven. Uh,

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<v Speaker 1>but it references something that should have happened in our past.

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<v Speaker 1>It would have happened between those two years. This is

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<v Speaker 1>the episode that introduced the iconic character con Nunioning. So

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<v Speaker 1>in Star Trek lore, the world plunged into a global

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<v Speaker 1>conflict in the nineteen nineties called the Eugenics Wars, and

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<v Speaker 1>Cohn was one of several people who are part of

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<v Speaker 1>a long term experiment that was focused on selective breeding

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<v Speaker 1>of humans, and the idea being that this is a

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<v Speaker 1>process that would eventually produce exceptional human beings. Eugenics is

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<v Speaker 1>a real horrifying thing. It's also an incredibly racist thing.

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<v Speaker 1>It's it's it's bad, y'all. But anyway, this was sort

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<v Speaker 1>of the thing that Star Trek was pitching it as.

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<v Speaker 1>So con is supposed to be stronger and more intelligent

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<v Speaker 1>than your average person. In later Star Trek properties, his

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<v Speaker 1>backstory gets tweaked a little bit, so he's actually the

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<v Speaker 1>result not just of selective breeding, but of genetic engineering,

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<v Speaker 1>because people recognize that any sort of selective breeding process

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<v Speaker 1>would not progress to a point that you would have,

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<v Speaker 1>you know, people with obviously superior human qualities within a

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<v Speaker 1>couple of generations. That would take a very long time

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<v Speaker 1>to really do. And again, eugenics is horrifying lee awful. Anyway.

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<v Speaker 1>Within Star Trek lore, Kahn and his genetically superior colleagues

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<v Speaker 1>managed to conquer about a third of the Earth before

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<v Speaker 1>they were defeated, and then Kahn's crew escaped Earth. Most

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<v Speaker 1>of the genetically engineered humans were captured and sentenced to

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<v Speaker 1>death in the nineties, but Cohn and his crew escape

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<v Speaker 1>on a ship called the Botany Bay, and they go

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<v Speaker 1>into suspended animation and just go on a trip out

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<v Speaker 1>into space to escape their capture, and then a couple

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<v Speaker 1>hundred years later, the enterprise happens across them. Now, obviously

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<v Speaker 1>a lot of the stuff that was predicted back in

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<v Speaker 1>nineteen sixty seven never happened. There have been no eugenics wars. Thankfully,

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<v Speaker 1>we don't have the ability to genetically modify humans to

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<v Speaker 1>the point of guaranteeing that they are going to be

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<v Speaker 1>stronger and more intelligent. But there are ongoing discussions and

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<v Speaker 1>scientific circles about the ethics of genetic modification in general. Like,

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<v Speaker 1>obviously we've been doing a lot of work in genetic modification.

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<v Speaker 1>The development of crisper is a great example, but we're

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<v Speaker 1>still very much at the early stages of science when

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<v Speaker 1>it comes to genetically modifying things. And more than that, uh,

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<v Speaker 1>we still have these big ethical debates on at what

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<v Speaker 1>point do you say this is too far? Is it

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<v Speaker 1>okay to do genetic modification if you are trying to

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<v Speaker 1>make certain that someone is not born with a condition

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<v Speaker 1>that would otherwise inhibit them or or negatively impact their

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<v Speaker 1>quality of life? Is it okay if you go beyond that,

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<v Speaker 1>if you say, well, let's make sure that they have

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<v Speaker 1>certain qualities like blue eyes, or you go even further

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<v Speaker 1>than that and say, let's make them stronger and more intelligent.

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<v Speaker 1>This is an area that is thoroughly investigated by science

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<v Speaker 1>fiction and it's one where we have real discussions going

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<v Speaker 1>on today. Uh As for other science stuff that happens

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<v Speaker 1>in that that story, obviously we don't have a way

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<v Speaker 1>to put people in suspended animation, certainly not with any

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<v Speaker 1>way of halting aging completely and yet still being able

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<v Speaker 1>to revive the person with no adverse effects. We don't

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<v Speaker 1>have that capability. Uh. This is also an area of

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<v Speaker 1>intense interest. I mean, cryonics is a real thing in

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<v Speaker 1>the sense that there are people who are working on it.

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<v Speaker 1>Often the push for chronics comes from rich people who

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<v Speaker 1>are terrified of dying. But yeah, we haven't cracked that

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<v Speaker 1>one yet either. Beyond all that, we don't actually have

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<v Speaker 1>a spacecraft that humans could crew that is meant to

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<v Speaker 1>escape our solar system, let alone just wander the galaxy.

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<v Speaker 1>So yes, space Seeds plot depends upon stuff that just

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<v Speaker 1>didn't happen, and much of it couldn't have happened. Clearly

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<v Speaker 1>the writer's didn't you know they needed to have CON's

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<v Speaker 1>backstory happened sometime between the present day of nineteen sixty

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<v Speaker 1>seven and the Star Trek date of twenty two sixty seven,

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<v Speaker 1>plus it needed to be far enough back in the

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<v Speaker 1>history of Star Trek's world so that the average person

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<v Speaker 1>in Star Trek wouldn't immediately recognize the name of con

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<v Speaker 1>and know who that is just on the face of it.

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<v Speaker 1>So I get it. But it's a great example of

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<v Speaker 1>predictions made in science fiction that just didn't happen. All right,

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<v Speaker 1>let's talk about some of the stuff that was predicted

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<v Speaker 1>to happen within the last twenty one years, And for

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<v Speaker 1>the year two thousand, I would like to submit the

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<v Speaker 1>film Death Race two thousand. This one was made back

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<v Speaker 1>in nineteen seventy five. This was a Roger Corman production.

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<v Speaker 1>And Corman is one of those folks in Hollywood who

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<v Speaker 1>really was able to stretch a dollar as far as

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<v Speaker 1>it could go. Typically his films are really low budget affairs,

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<v Speaker 1>but he's been behind some pretty fun movies. Like Roger

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<v Speaker 1>Corman film is probably gonna be super low budget, but

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<v Speaker 1>it doesn't mean that it's not going to be good

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<v Speaker 1>or at least entertaining. I consider Death Race two thousand

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<v Speaker 1>to be a pretty entertaining movie. There's a nasty satirical

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<v Speaker 1>edge to the movie, a really nasty one, but I

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<v Speaker 1>find it fascinating. So in the lore of the movie,

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<v Speaker 1>the world went through a massive economic crash in nineteen

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<v Speaker 1>seventy nine, remember this film came out in seventy That

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<v Speaker 1>economic crash then made the United States unstable and at

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<v Speaker 1>some point the military overthrew the government and replace the

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<v Speaker 1>democratically elected representatives with a totalitarian military regime. The government

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<v Speaker 1>also co opted religion, so the state and the church

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<v Speaker 1>are united. This was an effort to consolidate power and

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<v Speaker 1>to keep the huddled masses distracted. Uh. The government has

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<v Speaker 1>this incredibly violent coast to coast race called the Annual

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<v Speaker 1>Transcontinental Road Race. It's meant to entertain people and redirect

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<v Speaker 1>their attention so they, you know, they don't realize how

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<v Speaker 1>bad things are and they don't get smart ideas like

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<v Speaker 1>demanding rights and stuff. So the race has this brutal

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<v Speaker 1>scoring system. Not only do you get points for you know,

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<v Speaker 1>being fast, you also get points for killing innocent people

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<v Speaker 1>along the way, like if you run down a pedestrian,

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<v Speaker 1>those are extra points. So this is a way for

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<v Speaker 1>an authoritarian government to retain control of a population, and also,

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<v Speaker 1>you know, is a message saying no one is safe.

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<v Speaker 1>This is a really common theme in stories that feature

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<v Speaker 1>dystopian futures. I'm sure you can think of some examples yourself,

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<v Speaker 1>but you can find it in movies like Rollerball, Uh,

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<v Speaker 1>The Hunger Games, Battle Royal, The Running Man, and many more. Um.

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<v Speaker 1>One of the drivers in the Death Race two thousand

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<v Speaker 1>movie is the government backed Frankenstein, who is said to

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<v Speaker 1>at least be part machine due to having sustained numerous

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<v Speaker 1>injuries and past competitions, and that he's while he's you

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<v Speaker 1>at least partly machine, he's also practically unkillable. So we've

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<v Speaker 1>got some cyborg stuff going on here. Except spoiler alert,

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<v Speaker 1>if you've not watched Death Rays two thousand and you

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<v Speaker 1>really want to, you probably want to skip this next bit.

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<v Speaker 1>But it turns out that Frankenstein isn't just one man. Instead,

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<v Speaker 1>the government finds someone to pose as Frankenstein for each race,

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<v Speaker 1>and should one of them die, they just get another

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<v Speaker 1>person to pose as Frankenstein for the next one. So

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<v Speaker 1>Frankenstein's outfit is a disguise in other words, and it

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<v Speaker 1>creates the illusion that the government has access to indestructible agents.

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<v Speaker 1>It's another way of sending the message of we're more

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<v Speaker 1>powerful than you are, so don't bother resisting. Now. I

0:13:46.320 --> 0:13:49.800
<v Speaker 1>won't spoil how the film ends except to say there

0:13:49.800 --> 0:13:52.000
<v Speaker 1>are a lot of kind of double and triple crosses

0:13:52.040 --> 0:13:55.000
<v Speaker 1>going on and stuff. It's kind of bonkers. But the

0:13:55.040 --> 0:13:58.560
<v Speaker 1>tech and death rays two thousand isn't particularly outlandish. It's

0:13:58.559 --> 0:14:02.840
<v Speaker 1>more about how society has devolved into this bloodthirsty and

0:14:02.920 --> 0:14:07.680
<v Speaker 1>yet suppressed mob. And I'm sure depending upon your own

0:14:08.080 --> 0:14:12.040
<v Speaker 1>you know, ideology, you might see some parallels in the

0:14:12.080 --> 0:14:16.400
<v Speaker 1>real world. Moving on to two thousand one, we have Hey, look,

0:14:16.400 --> 0:14:19.880
<v Speaker 1>it's two thousand one, a space odyssey. The novel and

0:14:19.960 --> 0:14:22.920
<v Speaker 1>the movie are both considered classics, but they also project

0:14:23.000 --> 0:14:26.440
<v Speaker 1>the level of technological sophistication that we have not yet reached,

0:14:26.600 --> 0:14:30.560
<v Speaker 1>not even in twenty twenty one. Uh. We could probably

0:14:30.640 --> 0:14:33.880
<v Speaker 1>forgive some of that because the stories that influenced two

0:14:33.960 --> 0:14:38.080
<v Speaker 1>thousand one came out of the nineteen fifties and nineteen sixties.

0:14:38.280 --> 0:14:41.600
<v Speaker 1>The movie version premiered in nineteen sixty eight, so at

0:14:41.600 --> 0:14:44.520
<v Speaker 1>that time we were still just on the verge of

0:14:44.560 --> 0:14:47.640
<v Speaker 1>going to the moon for the first time, it probably

0:14:47.680 --> 0:14:51.480
<v Speaker 1>seemed inevitable that we would continue to make incredible progress,

0:14:51.560 --> 0:14:54.600
<v Speaker 1>right Like, we were already within the span of a

0:14:54.640 --> 0:15:00.520
<v Speaker 1>decade making incredible strides towards the stars, so I guess

0:15:00.560 --> 0:15:03.400
<v Speaker 1>like it seemed kind of natural that we would continue

0:15:03.440 --> 0:15:06.840
<v Speaker 1>that momentum. So in the story of two thousand one,

0:15:07.320 --> 0:15:10.400
<v Speaker 1>there's a lunar base, and that's something we obviously don't

0:15:10.440 --> 0:15:14.720
<v Speaker 1>have yet. NASA's Artemis program, in which the agency plans

0:15:14.760 --> 0:15:18.080
<v Speaker 1>to return and send cruise to the Moon for the

0:15:18.080 --> 0:15:23.080
<v Speaker 1>first time since the early nineteen seventies, has hit some snags. Currently,

0:15:23.080 --> 0:15:25.640
<v Speaker 1>the agency says that a lunar landing will now take

0:15:25.640 --> 0:15:29.360
<v Speaker 1>place in twenty five at the earliest. The original plan

0:15:29.560 --> 0:15:32.720
<v Speaker 1>was to get there by four, but delays in various

0:15:32.800 --> 0:15:36.960
<v Speaker 1>aspects of the mission have made that impossible. So no

0:15:37.120 --> 0:15:39.800
<v Speaker 1>lunar base for us just yet. And there are those

0:15:39.800 --> 0:15:42.200
<v Speaker 1>who question whether a lunar base is even a logical

0:15:42.240 --> 0:15:47.480
<v Speaker 1>stepping stone, but it exists in the film anyway. There's

0:15:47.480 --> 0:15:50.000
<v Speaker 1>also a space station in the movie. This is obviously

0:15:50.080 --> 0:15:53.080
<v Speaker 1>something that we have achieved, but the story also has

0:15:53.120 --> 0:15:57.880
<v Speaker 1>astronauts traveling to Jupiter via spaceship with some passengers in

0:15:57.920 --> 0:16:01.680
<v Speaker 1>suspended animation. And we've already covered the suspended animation thing,

0:16:02.080 --> 0:16:06.080
<v Speaker 1>but we obviously also haven't made any missions to go

0:16:06.280 --> 0:16:09.000
<v Speaker 1>further out than our own Moon, and we haven't done

0:16:09.000 --> 0:16:13.280
<v Speaker 1>that since the nineteen seventies, at least not with humans

0:16:13.320 --> 0:16:16.920
<v Speaker 1>on board. We have sent, you know, unmanned spacecraft much

0:16:16.960 --> 0:16:21.320
<v Speaker 1>further out, but not with a human crew. In some

0:16:21.600 --> 0:16:26.040
<v Speaker 1>sections of two thousand one, the Jupiter mission section. UH,

0:16:26.040 --> 0:16:30.560
<v Speaker 1>spacecraft generate artificial gravity by spinning. So the spacecraft acts

0:16:30.600 --> 0:16:33.960
<v Speaker 1>like a centrifuge, and when you've got a rotating mass,

0:16:34.000 --> 0:16:38.600
<v Speaker 1>there's this pseudo force that we call centrifugal force, even

0:16:38.600 --> 0:16:41.440
<v Speaker 1>though it's not a quote unquote real force. UH. This

0:16:41.520 --> 0:16:45.680
<v Speaker 1>is directed radially outwards from the axis of rotation. So

0:16:45.760 --> 0:16:50.200
<v Speaker 1>if you imagine a bicycle wheel that has a pole

0:16:50.720 --> 0:16:53.440
<v Speaker 1>that goes right through the middle of the wheel and

0:16:53.480 --> 0:16:57.200
<v Speaker 1>it spins around the pole, the centrifugal force pushes outward

0:16:57.240 --> 0:17:00.680
<v Speaker 1>along the circumference of the wheel, as this is ninety

0:17:00.720 --> 0:17:03.680
<v Speaker 1>degrees out from the axis of rotation. So if you

0:17:03.720 --> 0:17:07.280
<v Speaker 1>had a spacecraft shaped like a wheel and it's rotating,

0:17:07.760 --> 0:17:12.840
<v Speaker 1>people could walk along the uh the well inner part

0:17:12.840 --> 0:17:16.160
<v Speaker 1>of the wheel, but on the outer edge of it

0:17:16.240 --> 0:17:19.240
<v Speaker 1>if you If that makes sense, like if you were

0:17:19.280 --> 0:17:22.159
<v Speaker 1>inside a bicycle wheel, your feet would be on the

0:17:22.280 --> 0:17:25.280
<v Speaker 1>rubber that would be on the outside, and you could

0:17:25.320 --> 0:17:28.080
<v Speaker 1>walk around that way like you would have artificial gravity

0:17:28.119 --> 0:17:31.520
<v Speaker 1>that way. The amount of artificial gravity would be dependent

0:17:31.600 --> 0:17:34.560
<v Speaker 1>upon the speed of rotation as well as how large

0:17:35.240 --> 0:17:40.240
<v Speaker 1>the spacecraft was. Uh. There are some problems doing this, however,

0:17:40.359 --> 0:17:44.720
<v Speaker 1>because the magnitude of centrifugal force depends partly upon the

0:17:44.800 --> 0:17:49.720
<v Speaker 1>distance from that axis of rotation, and that would mean

0:17:49.800 --> 0:17:52.919
<v Speaker 1>that our heads, which are clearly a little closer to

0:17:52.960 --> 0:17:56.800
<v Speaker 1>the axis, would be experiencing a different amount of force

0:17:57.320 --> 0:18:00.560
<v Speaker 1>than our feet would. So it would work from a

0:18:00.600 --> 0:18:03.720
<v Speaker 1>physics standpoint, but you might not feel so great if

0:18:03.720 --> 0:18:06.960
<v Speaker 1>you were to actually try it out in practice. The

0:18:07.119 --> 0:18:10.920
<v Speaker 1>primary antagonist for two thousand one is an artificially intelligent

0:18:10.960 --> 0:18:14.480
<v Speaker 1>computer system called How, which is everyone points out means

0:18:14.520 --> 0:18:18.920
<v Speaker 1>that each letter is just off by one from IBM.

0:18:19.040 --> 0:18:22.440
<v Speaker 1>Arthur C. Clarke, who wrote this, says that's a coincidence.

0:18:23.040 --> 0:18:28.080
<v Speaker 1>The system develops its own motivation and experiences something akin

0:18:28.160 --> 0:18:31.280
<v Speaker 1>to fear as it pleads with a character not to

0:18:31.480 --> 0:18:36.680
<v Speaker 1>deactivate it. So How goes eighte and kills nearly all

0:18:36.720 --> 0:18:40.439
<v Speaker 1>the crew before it is deactivated, But as it's being deactivated,

0:18:40.480 --> 0:18:43.720
<v Speaker 1>it's it's essentially pleading for its own life. While the

0:18:43.760 --> 0:18:48.320
<v Speaker 1>discipline of artificial intelligence has advanced dramatically since the nineteen sixties,

0:18:48.359 --> 0:18:50.520
<v Speaker 1>you know, we are still as of yet not able

0:18:50.520 --> 0:18:53.399
<v Speaker 1>to do anything close to what how could do, And

0:18:53.520 --> 0:18:57.000
<v Speaker 1>there's an ongoing debate on whether things like consciousness and

0:18:57.040 --> 0:19:01.440
<v Speaker 1>emotional motivation can even emerge out of technological systems, or

0:19:01.480 --> 0:19:04.480
<v Speaker 1>if they can, what level of complexity we would first

0:19:04.560 --> 0:19:07.240
<v Speaker 1>need to achieve in order for that to happen. There

0:19:07.240 --> 0:19:10.960
<v Speaker 1>are other technologies in two thousand one that have come true.

0:19:11.440 --> 0:19:14.160
<v Speaker 1>There's a sort of tablet computer device that you can

0:19:14.160 --> 0:19:17.159
<v Speaker 1>see in a couple of scenes, and obviously that's a

0:19:17.200 --> 0:19:19.560
<v Speaker 1>tech that we have today, though it would be a

0:19:19.600 --> 0:19:21.760
<v Speaker 1>little bit after two thousand one before we got one

0:19:21.840 --> 0:19:24.760
<v Speaker 1>that was really practical and you know, something that would

0:19:24.760 --> 0:19:29.240
<v Speaker 1>work in the mainstream consumer market. Voice activation is in

0:19:29.280 --> 0:19:31.840
<v Speaker 1>the movie. That's come a long way, and we've got

0:19:31.920 --> 0:19:34.560
<v Speaker 1>numerous systems that work with that. Also, a lot of

0:19:34.600 --> 0:19:36.880
<v Speaker 1>the stuff shown in two thousand one is pretty darn

0:19:36.960 --> 0:19:40.840
<v Speaker 1>accurate from a technical perspective. For example, there's no sound

0:19:40.840 --> 0:19:43.440
<v Speaker 1>in space, right because you don't have enough particles out

0:19:43.480 --> 0:19:47.560
<v Speaker 1>there to allow vibrations to carry in space. So Kubrick

0:19:47.640 --> 0:19:51.720
<v Speaker 1>made sure that shots that were in outer space, like

0:19:51.800 --> 0:19:54.760
<v Speaker 1>in the exteriors, were silent. That was a good touch.

0:19:55.280 --> 0:19:58.040
<v Speaker 1>When we come back, we'll continue our journey through futuristic

0:19:58.080 --> 0:20:01.439
<v Speaker 1>stories that were off by us the hair. But first,

0:20:01.840 --> 0:20:11.760
<v Speaker 1>let's listen to these messages, all right. Before the break,

0:20:11.760 --> 0:20:14.240
<v Speaker 1>we talked about two thousand one, which is widely considered

0:20:14.280 --> 0:20:16.919
<v Speaker 1>to be a cinematic masterpiece, and it's also a pretty

0:20:16.920 --> 0:20:19.760
<v Speaker 1>divisive film. Some folks don't like it so much that

0:20:19.800 --> 0:20:22.680
<v Speaker 1>I think it's a little boring, like watching paint dry.

0:20:23.160 --> 0:20:26.120
<v Speaker 1>I might be in that camp. I appreciate the movie

0:20:26.160 --> 0:20:28.320
<v Speaker 1>for what it is, but I do not find it

0:20:28.400 --> 0:20:30.840
<v Speaker 1>very entertaining. I find it hard to stay awake watching it.

0:20:31.200 --> 0:20:33.800
<v Speaker 1>That's on me, that's not on the movie anyway. Our

0:20:33.800 --> 0:20:36.720
<v Speaker 1>next film is definitely not a classic. It's a movie

0:20:36.760 --> 0:20:39.879
<v Speaker 1>that did not do well critically or commercially, and I

0:20:39.920 --> 0:20:43.879
<v Speaker 1>am talking about Bicentennial Man. The film is about a

0:20:43.920 --> 0:20:47.440
<v Speaker 1>household robot, one that is bipedal. It has a human

0:20:47.520 --> 0:20:51.760
<v Speaker 1>like body, and over time, this robot develops emotions and

0:20:51.840 --> 0:20:54.160
<v Speaker 1>motivations of its own. So it's kind of like How

0:20:54.400 --> 0:20:58.000
<v Speaker 1>in that regard. Only while How became a homicidal maniac

0:20:58.080 --> 0:21:01.360
<v Speaker 1>determined to complete a mission, the robot character of Andrew

0:21:01.440 --> 0:21:05.000
<v Speaker 1>and Bicentennial Man becomes so sweet he'll end up giving

0:21:05.000 --> 0:21:10.119
<v Speaker 1>you cavities. It's Robin Williams as schmaltziest. But if we

0:21:10.280 --> 0:21:13.600
<v Speaker 1>distill the movie down to the basics, we could say

0:21:13.640 --> 0:21:17.760
<v Speaker 1>that it's about a robot with artificial intelligence that gains sentience,

0:21:17.960 --> 0:21:22.480
<v Speaker 1>self awareness, and consciousness. And then how would humanity perceive

0:21:22.760 --> 0:21:25.760
<v Speaker 1>that kind of a machine. How would humans react? Would

0:21:25.760 --> 0:21:31.000
<v Speaker 1>they extend the idea of personhood to encompass an artificial being,

0:21:31.440 --> 0:21:35.240
<v Speaker 1>or would humans dismiss that as unthinkable and refuse to

0:21:35.280 --> 0:21:39.400
<v Speaker 1>acknowledge that a robot's humanlike qualities make it a person.

0:21:40.040 --> 0:21:42.639
<v Speaker 1>These are questions that folks are actually asking right now.

0:21:42.680 --> 0:21:45.520
<v Speaker 1>I mean, in the EU, there are committees that are

0:21:45.600 --> 0:21:49.639
<v Speaker 1>dedicated into looking into the idea of granting personhood for

0:21:49.800 --> 0:21:53.159
<v Speaker 1>robots and artificial intelligence. Should they reach a level of

0:21:53.200 --> 0:21:57.760
<v Speaker 1>sophistication that would necessitate such a thing. Bi Centennial Man

0:21:57.800 --> 0:22:00.439
<v Speaker 1>starts off in two thousand five, and I'm sure I

0:22:00.480 --> 0:22:02.400
<v Speaker 1>do not need to point out to you we did

0:22:02.440 --> 0:22:06.359
<v Speaker 1>not get intelligent bipedal helper robots in two thousand five.

0:22:06.960 --> 0:22:09.520
<v Speaker 1>We don't have them now, and there are lots of

0:22:09.520 --> 0:22:13.000
<v Speaker 1>reasons for that will put the AI side apart because

0:22:13.119 --> 0:22:14.959
<v Speaker 1>we already talked about that with how so there's no

0:22:15.040 --> 0:22:18.439
<v Speaker 1>need to tread over that again. But let's talk about

0:22:18.560 --> 0:22:22.719
<v Speaker 1>bipedal robots. So we don't have a ton of these because,

0:22:22.760 --> 0:22:26.080
<v Speaker 1>as it turns out, it's very hard to engineer a

0:22:26.160 --> 0:22:30.360
<v Speaker 1>bipedal robot. Getting the robot to move so that it's

0:22:30.400 --> 0:22:32.800
<v Speaker 1>not you know, just falling all over the place is

0:22:32.840 --> 0:22:37.840
<v Speaker 1>a non trivial problem. Balance is tough, maneuverability is tough.

0:22:38.280 --> 0:22:40.840
<v Speaker 1>We do have some robots that are bipedal, and they

0:22:40.880 --> 0:22:45.280
<v Speaker 1>are even some famous examples like Asimo, but um, you know,

0:22:45.359 --> 0:22:48.359
<v Speaker 1>they they're still very limited. I mean, Asimo could actually run.

0:22:48.680 --> 0:22:50.320
<v Speaker 1>It was a little hoppy run and made it look

0:22:50.359 --> 0:22:52.680
<v Speaker 1>like Asimo really needed to get to the Little Robots

0:22:52.760 --> 0:22:57.840
<v Speaker 1>Room pretty quickly, but it had its own limitations and restrictions.

0:22:57.840 --> 0:23:02.400
<v Speaker 1>It was largely under you know, annual control or very

0:23:02.560 --> 0:23:06.359
<v Speaker 1>very limited autonomous control. That's part of the reason we

0:23:06.440 --> 0:23:09.960
<v Speaker 1>typically see robots that depend upon wheels or treads to

0:23:10.040 --> 0:23:13.840
<v Speaker 1>move around because those components are far less complicated than

0:23:13.960 --> 0:23:17.840
<v Speaker 1>legs from an engineering perspective, they work on a simpler principle,

0:23:18.200 --> 0:23:21.479
<v Speaker 1>and they're easier to repair if things go wrong. If

0:23:21.520 --> 0:23:24.960
<v Speaker 1>you're looking at ways to simplify your robot design, getting

0:23:25.040 --> 0:23:28.200
<v Speaker 1>rid of legs is a no brainer. However, a lot

0:23:28.240 --> 0:23:32.040
<v Speaker 1>of human environments work best if you have legs. By

0:23:32.040 --> 0:23:34.760
<v Speaker 1>the way, this is a big problem, not just for robots.

0:23:34.800 --> 0:23:38.200
<v Speaker 1>I'm talking about accessibility in general. It's why we have

0:23:38.359 --> 0:23:42.480
<v Speaker 1>laws that are meant to guarantee accessibility, because otherwise people

0:23:42.480 --> 0:23:45.680
<v Speaker 1>who depend upon tech like wheelchairs to get around would

0:23:45.720 --> 0:23:49.120
<v Speaker 1>find themselves locked out of a lot of experiences. I mean,

0:23:49.160 --> 0:23:51.680
<v Speaker 1>they already do, but it would be even worse. And

0:23:51.760 --> 0:23:55.080
<v Speaker 1>while we've had some progress on making the world more accessible,

0:23:55.440 --> 0:23:58.879
<v Speaker 1>the fact is that the default design choice tends to

0:23:58.960 --> 0:24:02.159
<v Speaker 1>favor people who can walk around. The stairs are just

0:24:02.200 --> 0:24:07.200
<v Speaker 1>a simple example of that. Well, that's a pretty tough

0:24:07.280 --> 0:24:11.439
<v Speaker 1>challenge for robots to One of darpast robotics challenges was

0:24:11.520 --> 0:24:14.520
<v Speaker 1>for groups to design a bipedal robot that could complete

0:24:14.520 --> 0:24:19.439
<v Speaker 1>several tasks autonomously, including doing such things as operating a

0:24:19.520 --> 0:24:24.119
<v Speaker 1>vehicle opening a door, walking through a doorway, picking up

0:24:24.119 --> 0:24:27.280
<v Speaker 1>a power tool, using the power tool appropriately, and so on,

0:24:27.960 --> 0:24:30.919
<v Speaker 1>and even things like opening a door, which would be

0:24:30.960 --> 0:24:34.280
<v Speaker 1>a pretty trivial task for many people, became a big

0:24:34.320 --> 0:24:38.000
<v Speaker 1>engineering challenge, and walking through the door was another big one.

0:24:38.040 --> 0:24:40.800
<v Speaker 1>There are actually lots of videos of several robots just

0:24:40.880 --> 0:24:44.680
<v Speaker 1>playing tipping right over at that point. This challenge happened

0:24:44.720 --> 0:24:49.000
<v Speaker 1>a decade after two thousand five, after the the setting

0:24:49.080 --> 0:24:52.920
<v Speaker 1>of the beginning of Bicentennial Man, so from a basic

0:24:53.040 --> 0:24:56.800
<v Speaker 1>robotics standard, we're far off from having that become a reality.

0:24:57.320 --> 0:24:59.359
<v Speaker 1>I'm not going to comment on the quality of the movie,

0:24:59.520 --> 0:25:01.840
<v Speaker 1>but the argument on whether or not robots should be

0:25:01.880 --> 0:25:06.439
<v Speaker 1>granted personhood is a really interesting one, and it's also

0:25:06.880 --> 0:25:09.800
<v Speaker 1>an idea that pops up in the film AI And

0:25:09.840 --> 0:25:12.080
<v Speaker 1>as I mentioned, it's kind of an ongoing discussion here

0:25:12.080 --> 0:25:14.720
<v Speaker 1>in the real world today. Now we're going to jump

0:25:14.720 --> 0:25:19.040
<v Speaker 1>ahead to twenty mostly because very few well known futuristic

0:25:19.080 --> 0:25:22.480
<v Speaker 1>stories were set between two thousand five and twenty But

0:25:22.560 --> 0:25:25.760
<v Speaker 1>that means now we have to talk about the year

0:25:25.800 --> 0:25:28.919
<v Speaker 1>we make contact. This is actually the sequel to two

0:25:29.000 --> 0:25:32.960
<v Speaker 1>thousand one Space Odyssey. The film twenty ten came out

0:25:33.080 --> 0:25:37.160
<v Speaker 1>in the book came out two years earlier. And yes,

0:25:37.200 --> 0:25:39.560
<v Speaker 1>I know this sounds confusing because I'm using lots of

0:25:39.640 --> 0:25:43.159
<v Speaker 1>years here, but it was a nineteen eighties version of

0:25:43.160 --> 0:25:46.399
<v Speaker 1>what twenty ten would look like. Anyway, nine years have

0:25:46.440 --> 0:25:49.200
<v Speaker 1>gone by since the events of the first film, and

0:25:49.280 --> 0:25:51.640
<v Speaker 1>there are a lot of questions that are left back

0:25:51.680 --> 0:25:53.840
<v Speaker 1>on Earth, and the big ones are what the heck

0:25:53.880 --> 0:25:58.080
<v Speaker 1>happened out there? All those astronauts died, what happened to them?

0:25:58.119 --> 0:26:00.720
<v Speaker 1>And then one of them might not have died but

0:26:00.960 --> 0:26:04.280
<v Speaker 1>definitely disappeared. What happened to that guy? So twenty ten

0:26:04.400 --> 0:26:07.440
<v Speaker 1>obviously has some of the same issues when it comes

0:26:07.440 --> 0:26:10.400
<v Speaker 1>to the predicted tech that we saw in two thousand one,

0:26:10.440 --> 0:26:13.440
<v Speaker 1>so we're not going to go over all that again. Interestingly,

0:26:13.520 --> 0:26:17.120
<v Speaker 1>it also assumes that in the Soviet Union is still

0:26:17.160 --> 0:26:19.919
<v Speaker 1>a thing. In the film, the U S and the

0:26:20.000 --> 0:26:22.840
<v Speaker 1>U s s are are entering into essentially another kind

0:26:22.880 --> 0:26:26.320
<v Speaker 1>of Cold War space race, in this case a mission

0:26:26.359 --> 0:26:29.439
<v Speaker 1>to find out what the heck happened in the events

0:26:29.480 --> 0:26:32.879
<v Speaker 1>of two thousand one. Of course, the real Soviet Union

0:26:33.080 --> 0:26:35.919
<v Speaker 1>dissolved in the early nineteen nineties. It did not exist

0:26:35.960 --> 0:26:40.280
<v Speaker 1>by the movie answers the question about why How went

0:26:40.400 --> 0:26:43.600
<v Speaker 1>bonkers in the first film, and it turns out that

0:26:43.640 --> 0:26:47.560
<v Speaker 1>the crew were unknowingly on a secret miss mission, and

0:26:47.640 --> 0:26:49.439
<v Speaker 1>that mission had not been laid out to them, so

0:26:49.520 --> 0:26:53.119
<v Speaker 1>they didn't have any awareness of it. How however, was

0:26:53.240 --> 0:26:56.080
<v Speaker 1>aware of the secret mission, but was supposed to keep

0:26:56.119 --> 0:27:00.679
<v Speaker 1>that under wraps while appearing to facilitate the covers story mission,

0:27:00.720 --> 0:27:03.919
<v Speaker 1>the one that the astronauts thought they were on. But

0:27:04.119 --> 0:27:06.800
<v Speaker 1>that meant that there was a conflict with How's programming

0:27:06.840 --> 0:27:10.920
<v Speaker 1>because it was supposed to be a transparent and honest system,

0:27:10.960 --> 0:27:14.920
<v Speaker 1>and that brought How into an irreconcilable quandary. The computer

0:27:15.000 --> 0:27:19.240
<v Speaker 1>system was obligated to follow its mission, but that mission

0:27:19.320 --> 0:27:24.600
<v Speaker 1>included parameters that would violate the systems programming, so How snapped. Now,

0:27:24.640 --> 0:27:27.800
<v Speaker 1>setting aside the AI issues that we've already discussed, this

0:27:27.840 --> 0:27:31.560
<v Speaker 1>touches on another common element in speculative fiction, that of

0:27:31.720 --> 0:27:36.320
<v Speaker 1>artificial intelligence encountering some sort of problem or scenario that

0:27:36.359 --> 0:27:40.240
<v Speaker 1>subsequently causes it to harm people. Uh. One of the

0:27:40.280 --> 0:27:44.080
<v Speaker 1>basic ideas in Western science fiction goes to the three

0:27:44.359 --> 0:27:48.880
<v Speaker 1>major laws of robotics, as defined by Isaac Asimov. They

0:27:48.880 --> 0:27:52.480
<v Speaker 1>state that, first, a robot cannot harm a human or

0:27:52.640 --> 0:27:55.600
<v Speaker 1>allow a human to come to harm by failing to

0:27:55.640 --> 0:27:59.800
<v Speaker 1>prevent it. Second, a robot must obey any order given

0:27:59.800 --> 0:28:03.280
<v Speaker 1>to it by a human, provided that it doesn't violate

0:28:03.320 --> 0:28:07.359
<v Speaker 1>the first law. And Third, the robot must protect itself

0:28:07.400 --> 0:28:10.280
<v Speaker 1>as long as it doesn't conflict with the first two laws.

0:28:10.680 --> 0:28:13.080
<v Speaker 1>But science fiction is full of scenarios in which AI

0:28:13.200 --> 0:28:17.680
<v Speaker 1>causes harm or even leads to extinction level events. The classic,

0:28:17.800 --> 0:28:21.399
<v Speaker 1>perhaps most cliche example of this is the idea that

0:28:21.440 --> 0:28:24.280
<v Speaker 1>you create a supercomputer, and you your hope is that

0:28:24.320 --> 0:28:27.680
<v Speaker 1>the supercomputer, which is far more intelligent than any human being,

0:28:28.040 --> 0:28:31.880
<v Speaker 1>will be able to solve massive real world problems, so

0:28:32.800 --> 0:28:34.760
<v Speaker 1>it will be able to do things that humans can't

0:28:34.760 --> 0:28:37.440
<v Speaker 1>do the humans aren't smart enough to do. And then

0:28:37.480 --> 0:28:40.160
<v Speaker 1>you tell it to bring about world peace, and then

0:28:40.240 --> 0:28:43.240
<v Speaker 1>the supercomputer comes to the conclusion that the only way

0:28:43.520 --> 0:28:46.840
<v Speaker 1>to guarantee world peace is to wipe out all of humanity.

0:28:46.880 --> 0:28:49.120
<v Speaker 1>That way, there's no one left to declare war on

0:28:49.160 --> 0:28:53.680
<v Speaker 1>anyone else. That classic sci fi cliche. The other stuff

0:28:53.720 --> 0:28:56.880
<v Speaker 1>that happens in ten goes more into the realm of

0:28:56.920 --> 0:28:59.280
<v Speaker 1>fantasy than science fiction, So I'm not going to get

0:28:59.320 --> 0:29:02.000
<v Speaker 1>into the rest here yere. Uh. It's definitely a very

0:29:02.040 --> 0:29:05.240
<v Speaker 1>different movie than two thousand one. It's less poetic, it's

0:29:05.240 --> 0:29:08.120
<v Speaker 1>a little more narrative. I don't think it's a better

0:29:08.480 --> 0:29:11.160
<v Speaker 1>film than two thousand one. I do think it's one

0:29:11.200 --> 0:29:15.000
<v Speaker 1>I can watch more easily than two thousand one. All Right,

0:29:15.040 --> 0:29:18.720
<v Speaker 1>but let's move up to I thought about including I

0:29:18.760 --> 0:29:21.400
<v Speaker 1>Am Legend in this lineup that actually came out in

0:29:21.400 --> 0:29:25.800
<v Speaker 1>two thousand seven but was set in twelve. However, there's

0:29:25.840 --> 0:29:28.320
<v Speaker 1>not really any tech to speak of in I Am Legend,

0:29:28.440 --> 0:29:31.680
<v Speaker 1>and we're currently living through a global pandemic, so I

0:29:31.720 --> 0:29:34.080
<v Speaker 1>don't think we really need to talk about a fictional version.

0:29:34.120 --> 0:29:37.640
<v Speaker 1>So instead we're gonna talk about and I can't believe

0:29:37.680 --> 0:29:41.920
<v Speaker 1>I'm following up like with this, but John Carpenter's film

0:29:42.200 --> 0:29:46.000
<v Speaker 1>Escape from l A. It hurts me to talk about

0:29:46.000 --> 0:29:48.360
<v Speaker 1>this movie. I would have much preferred to talk about

0:29:48.480 --> 0:29:51.800
<v Speaker 1>Escape from New York. I know that Carpenter thinks Escape

0:29:51.800 --> 0:29:54.240
<v Speaker 1>from l A is a superior film to Escape from

0:29:54.240 --> 0:30:00.760
<v Speaker 1>New York. I respectfully disagree. The film Escape from New

0:30:00.800 --> 0:30:03.240
<v Speaker 1>York was set in the late nineties, so it's outside

0:30:03.240 --> 0:30:05.720
<v Speaker 1>the window for this episode. But Escape from l A

0:30:06.760 --> 0:30:09.680
<v Speaker 1>is a lot like Escape from New York, but not

0:30:09.840 --> 0:30:13.800
<v Speaker 1>as entertaining in my opinion. It was made in which

0:30:14.280 --> 0:30:17.520
<v Speaker 1>actually was the year before the setting of Escape from

0:30:17.560 --> 0:30:21.600
<v Speaker 1>New York. The basic premises that over several years, Los

0:30:21.680 --> 0:30:26.160
<v Speaker 1>Angeles descends into crime and chaos. It's a lost cause.

0:30:26.640 --> 0:30:29.880
<v Speaker 1>Then there's an earthquake and that causes Los Angeles to

0:30:29.960 --> 0:30:34.520
<v Speaker 1>effectively become an island separate from the California mainland. And

0:30:34.560 --> 0:30:38.280
<v Speaker 1>then there is a dictator who declares himself President of

0:30:38.320 --> 0:30:41.800
<v Speaker 1>the US for life, who then seizes control and he

0:30:42.120 --> 0:30:45.680
<v Speaker 1>uh declares that Los Angeles is effectively a prison. He

0:30:45.720 --> 0:30:48.080
<v Speaker 1>has walls built around the city, and if you break

0:30:48.120 --> 0:30:50.400
<v Speaker 1>any laws in the United States, well you're gonna get

0:30:50.440 --> 0:30:53.120
<v Speaker 1>sent to l a where you have to just kind

0:30:53.160 --> 0:30:57.680
<v Speaker 1>of try and survive anyway. The main character is Snake Bliskin,

0:30:57.760 --> 0:31:00.720
<v Speaker 1>who's a former military man. He's been come a nihilist.

0:31:00.760 --> 0:31:04.200
<v Speaker 1>He doesn't really believe in anything. He detests the world

0:31:04.560 --> 0:31:07.360
<v Speaker 1>as it has turned out to be. And he's also

0:31:07.400 --> 0:31:10.480
<v Speaker 1>a criminal and he's going to be sentenced to Los Angeles,

0:31:10.520 --> 0:31:13.400
<v Speaker 1>but he's offered a part pardon if he can retrieve

0:31:13.480 --> 0:31:17.960
<v Speaker 1>a remote control that controls a satellite based weapons system,

0:31:18.000 --> 0:31:22.440
<v Speaker 1>and this weapon can blast targeted regions with an electromagnetic

0:31:22.520 --> 0:31:26.400
<v Speaker 1>pulse that's strong enough to disable you know, electrical systems.

0:31:27.000 --> 0:31:29.320
<v Speaker 1>The dictator of the United States plans on using the

0:31:29.320 --> 0:31:33.520
<v Speaker 1>weapon on his various enemies around the world, essentially kind

0:31:33.520 --> 0:31:36.280
<v Speaker 1>of sending him on a path for world domination. And

0:31:36.320 --> 0:31:39.760
<v Speaker 1>to make sure that Pliskin plays ball, the government injects

0:31:39.760 --> 0:31:41.880
<v Speaker 1>what they say is a virus that will kill him

0:31:41.880 --> 0:31:45.440
<v Speaker 1>within ten hours unless he gets an antidote. This blot,

0:31:45.440 --> 0:31:49.160
<v Speaker 1>by the way, is almost identical to Escape from New York.

0:31:49.360 --> 0:31:54.000
<v Speaker 1>The particulars are different, but the idea is is virtually

0:31:54.040 --> 0:31:57.400
<v Speaker 1>the same. Some of the technologies shown in the film

0:31:57.560 --> 0:32:02.080
<v Speaker 1>include that satellite based e MP or electromagnetic pulse weapon.

0:32:02.640 --> 0:32:05.480
<v Speaker 1>E m p s are real. In fact, they really

0:32:05.480 --> 0:32:10.320
<v Speaker 1>happen in nature, and a sufficiently powerful electromagnetic pulse can

0:32:10.400 --> 0:32:14.960
<v Speaker 1>cause electronics to overload and fail. Uh. If it's powerful enough,

0:32:15.040 --> 0:32:17.960
<v Speaker 1>it can damage electronics to the point where they won't

0:32:17.960 --> 0:32:20.440
<v Speaker 1>work anymore. You'll have to repair them or replace them.

0:32:20.920 --> 0:32:25.160
<v Speaker 1>So lightning is one type of an electromagnetic pulse. A

0:32:25.160 --> 0:32:28.959
<v Speaker 1>coronal mass ejection or CMME from a star like the

0:32:29.000 --> 0:32:32.280
<v Speaker 1>Sun can create a magnetic field strong enough to be

0:32:32.400 --> 0:32:35.760
<v Speaker 1>an e m P. That's why you'll hear about times

0:32:35.800 --> 0:32:39.280
<v Speaker 1>where there's a lot of solar activity potentially interfering with electronics.

0:32:39.320 --> 0:32:44.200
<v Speaker 1>Here on Earth, nuclear explosions generate e m P s uh.

0:32:44.280 --> 0:32:47.320
<v Speaker 1>A really powerful pulse could cause power lines to snap.

0:32:48.520 --> 0:32:51.880
<v Speaker 1>You would have an excess of electrical current and voltage

0:32:51.880 --> 0:32:53.640
<v Speaker 1>in the power lines. They wouldn't be able to handle it,

0:32:53.680 --> 0:32:56.680
<v Speaker 1>and they can snap right then and there. Computer systems

0:32:56.680 --> 0:33:00.480
<v Speaker 1>are particularly vulnerable to electromagnetic pulses. So an e MP

0:33:00.600 --> 0:33:04.920
<v Speaker 1>weapon is not just possible, it's something that exists, and

0:33:04.960 --> 0:33:06.960
<v Speaker 1>it's a lot of a lot of militaries around the

0:33:07.000 --> 0:33:10.520
<v Speaker 1>world have worked on refining them over the years, because

0:33:10.520 --> 0:33:13.320
<v Speaker 1>if you have a weapon that can destroy communication infrastructure

0:33:13.480 --> 0:33:17.280
<v Speaker 1>without actually causing physical destruction to the region itself, that's

0:33:17.320 --> 0:33:20.680
<v Speaker 1>a super high value weapon. That being said, I am

0:33:20.720 --> 0:33:24.080
<v Speaker 1>not aware of any system that could produce a powerful

0:33:24.200 --> 0:33:28.560
<v Speaker 1>e MP blast that you could base on a satellite platform.

0:33:28.680 --> 0:33:31.920
<v Speaker 1>Um it essentially just becomes a laser gun weapon in

0:33:31.960 --> 0:33:34.960
<v Speaker 1>the movie, And I can't think of a way where

0:33:34.960 --> 0:33:37.760
<v Speaker 1>you would be able to do this unless you had

0:33:37.800 --> 0:33:42.239
<v Speaker 1>like nuclear explosives in orbit. Even then you would have

0:33:42.320 --> 0:33:45.240
<v Speaker 1>to really find a way to direct that pulse to

0:33:45.280 --> 0:33:50.520
<v Speaker 1>have maximum effectiveness. The movie also features a personal holographic

0:33:50.560 --> 0:33:55.360
<v Speaker 1>projector that's capable of producing a three dimensional hologram that's

0:33:55.480 --> 0:33:57.959
<v Speaker 1>convincing enough to fool people who are standing in the

0:33:58.040 --> 0:34:01.160
<v Speaker 1>same area. Right Like, if you were in a room

0:34:01.200 --> 0:34:03.239
<v Speaker 1>and someone were using this, you would think that that

0:34:03.320 --> 0:34:05.600
<v Speaker 1>was actually a person there, not a hologram. That's all

0:34:05.640 --> 0:34:08.680
<v Speaker 1>effective it is within the movie. It even casts a

0:34:08.760 --> 0:34:11.400
<v Speaker 1>shadow behind it in the scene where it plays a

0:34:11.440 --> 0:34:15.160
<v Speaker 1>big part in the film. Obviously, we have not developed

0:34:15.160 --> 0:34:18.960
<v Speaker 1>that kind of technology. There are some pretty nifty effects

0:34:19.000 --> 0:34:23.320
<v Speaker 1>that we can create to simulate holograms under very specific conditions,

0:34:23.600 --> 0:34:28.160
<v Speaker 1>but generally speaking, this is way beyond our capabilities. Oh also,

0:34:28.400 --> 0:34:30.279
<v Speaker 1>one of the actors in the movie would later go

0:34:30.320 --> 0:34:34.640
<v Speaker 1>on to become the Countess of Devon. True story, it

0:34:34.680 --> 0:34:37.680
<v Speaker 1>really did happen. All right, We got a few more

0:34:37.840 --> 0:34:40.600
<v Speaker 1>stories we want to talk about, but first let's take

0:34:40.719 --> 0:34:51.600
<v Speaker 1>another quick break. Okay, we're up to two thousand and fifteen,

0:34:51.719 --> 0:34:55.279
<v Speaker 1>and it's time to talk about flying cars. In fact,

0:34:55.360 --> 0:34:57.360
<v Speaker 1>those pop up a couple of times, but this is

0:34:57.360 --> 0:34:58.759
<v Speaker 1>the first one, and you knew we were going to

0:34:58.840 --> 0:35:02.960
<v Speaker 1>have to get around to it, because is when about

0:35:03.080 --> 0:35:05.880
<v Speaker 1>half of Back to the Future Part two takes place.

0:35:06.640 --> 0:35:09.239
<v Speaker 1>If you've never seen the movie, well, first you got

0:35:09.239 --> 0:35:11.200
<v Speaker 1>the first Back to the Future, which follows a character

0:35:11.239 --> 0:35:15.160
<v Speaker 1>named Marty McFly as he accidentally travels back from nineteen

0:35:15.239 --> 0:35:19.800
<v Speaker 1>eighty five to nineteen fifty five and then, through some misadventures,

0:35:19.840 --> 0:35:21.720
<v Speaker 1>has to figure out a way to make his parents

0:35:21.800 --> 0:35:24.399
<v Speaker 1>fall in love with each other or else he'll never

0:35:24.520 --> 0:35:29.600
<v Speaker 1>have existed. So it's your classic temporal paradox scenario. But

0:35:29.640 --> 0:35:32.480
<v Speaker 1>in the sequel, which came out in nineteen eighty nine,

0:35:33.040 --> 0:35:38.399
<v Speaker 1>Marty's friend and mentor, Doc brown Uh, convinces Marty five

0:35:38.440 --> 0:35:40.719
<v Speaker 1>Marty that he has to travel to the far off

0:35:40.800 --> 0:35:46.080
<v Speaker 1>future of in order to help Marty's kids. At least

0:35:46.080 --> 0:35:48.719
<v Speaker 1>that's the first section of Back to the Future Part two,

0:35:49.040 --> 0:35:52.720
<v Speaker 1>so we get to visit and things are a little

0:35:52.760 --> 0:35:56.560
<v Speaker 1>different from our real world version of They are a

0:35:56.719 --> 0:36:00.080
<v Speaker 1>lot more day glow for one thing, a lot of

0:36:00.120 --> 0:36:03.760
<v Speaker 1>like fluorescent colors, and in the Back to the Future

0:36:03.800 --> 0:36:08.960
<v Speaker 1>two version also homes come standard with fax machines. In

0:36:08.960 --> 0:36:11.560
<v Speaker 1>that version of now maybe in the late eighties, that

0:36:11.640 --> 0:36:14.120
<v Speaker 1>seem like it was a realistic outcome, but Obviously it's

0:36:14.160 --> 0:36:17.080
<v Speaker 1>not what are would be in our most homes today.

0:36:17.080 --> 0:36:19.239
<v Speaker 1>I mean, there's no need for them because we have

0:36:19.280 --> 0:36:22.680
<v Speaker 1>plenty of electronic systems that don't require paper or toner.

0:36:23.280 --> 0:36:26.600
<v Speaker 1>But email was not something that people were really thinking

0:36:26.640 --> 0:36:33.160
<v Speaker 1>about in Hollywood at levels. Restaurants in the movie have

0:36:33.360 --> 0:36:35.800
<v Speaker 1>a robo wait staff, and there's a There are a

0:36:35.880 --> 0:36:38.759
<v Speaker 1>few novelty places around the world, a lot of them

0:36:38.760 --> 0:36:42.040
<v Speaker 1>in Japan, that use computers and robots in order to

0:36:42.120 --> 0:36:45.719
<v Speaker 1>serve food, but they are really a novelty and an exception,

0:36:45.800 --> 0:36:49.200
<v Speaker 1>not the rule. I will say, however, that wait staff

0:36:49.280 --> 0:36:52.120
<v Speaker 1>is one of those roles that robots and automated systems

0:36:52.160 --> 0:36:56.439
<v Speaker 1>could potentially thrive in. And I say that because we're

0:36:56.440 --> 0:36:59.319
<v Speaker 1>talking about an environment that has a limited set of

0:36:59.400 --> 0:37:03.160
<v Speaker 1>variable Like if you can only order from a menu,

0:37:03.400 --> 0:37:05.320
<v Speaker 1>that means you can't just walk into the restaurant and

0:37:05.440 --> 0:37:09.160
<v Speaker 1>order anything. Right, you couldn't walk into like a Mexican

0:37:09.239 --> 0:37:11.399
<v Speaker 1>restaurant that didn't have pizza on the menu and say

0:37:11.480 --> 0:37:14.359
<v Speaker 1>I want a pizza. You typically have to order off

0:37:14.400 --> 0:37:16.800
<v Speaker 1>the menu. Now you might be able to order something

0:37:16.880 --> 0:37:20.440
<v Speaker 1>off menu if the staff like you and the chefs

0:37:20.440 --> 0:37:23.160
<v Speaker 1>in the back don't mind, but only if the restaurant

0:37:23.160 --> 0:37:27.680
<v Speaker 1>actually has the necessary ingredients on hand. So robots work

0:37:27.760 --> 0:37:32.280
<v Speaker 1>well in environments that have a limited number of varia variables,

0:37:32.320 --> 0:37:35.680
<v Speaker 1>like if they have restrictions on variability, robots do better.

0:37:35.680 --> 0:37:38.800
<v Speaker 1>It's when you start adding more variables then it becomes

0:37:38.840 --> 0:37:42.399
<v Speaker 1>more complicated for a robot to operate. Whether folks would

0:37:42.400 --> 0:37:46.320
<v Speaker 1>ever see robots as being useful or you know, pleasant

0:37:46.360 --> 0:37:49.560
<v Speaker 1>to interact with on that level, or whether they would

0:37:49.600 --> 0:37:53.400
<v Speaker 1>even make economic sense compared to say, hiring human weight staff,

0:37:53.840 --> 0:37:57.319
<v Speaker 1>those are other matters like technologically it's probably not the

0:37:57.360 --> 0:37:59.680
<v Speaker 1>most difficult thing in the world to do. The question

0:37:59.760 --> 0:38:04.080
<v Speaker 1>is that makes sense financially and socially. Like Escape from

0:38:04.200 --> 0:38:06.640
<v Speaker 1>l A, we see holograms and Back to the Future too.

0:38:07.000 --> 0:38:10.400
<v Speaker 1>There's a film Marquee for Jaws film that has a

0:38:10.520 --> 0:38:15.120
<v Speaker 1>holographic shark emerged from the screen to seemingly attack Marty,

0:38:15.200 --> 0:38:18.880
<v Speaker 1>which startles him. It's a pretty cool effect, and it

0:38:18.960 --> 0:38:22.040
<v Speaker 1>is possible to create a three D effect with a

0:38:22.120 --> 0:38:26.960
<v Speaker 1>screen without the need for three D glasses. Lenticular displays

0:38:27.000 --> 0:38:30.360
<v Speaker 1>can do this. However, this is a pretty limited effect

0:38:30.440 --> 0:38:32.840
<v Speaker 1>and typically you need to be positioned in a sweet

0:38:32.840 --> 0:38:35.480
<v Speaker 1>spot in order to experience it, if you move a

0:38:35.480 --> 0:38:37.480
<v Speaker 1>little bit to the left or to the right, the

0:38:37.560 --> 0:38:41.640
<v Speaker 1>effect changes. You don't get the proper images that are

0:38:41.640 --> 0:38:44.480
<v Speaker 1>directed towards your eyes, and it will look all messy.

0:38:44.600 --> 0:38:47.080
<v Speaker 1>From personal experience, I can tell you that looking at

0:38:47.200 --> 0:38:49.960
<v Speaker 1>three D glasses, or rather three D displays that are

0:38:49.960 --> 0:38:53.600
<v Speaker 1>glasses free, it's not fun. It can actually bring on

0:38:53.680 --> 0:38:56.080
<v Speaker 1>some eye strain. It is just it's possible to do.

0:38:56.239 --> 0:38:58.360
<v Speaker 1>It just wouldn't happen the way it does in the movie.

0:38:58.760 --> 0:39:02.560
<v Speaker 1>There's also the hydrator oven in the movie that turns

0:39:02.600 --> 0:39:05.640
<v Speaker 1>like a hockey puck sized pizza into a full sized

0:39:05.719 --> 0:39:09.080
<v Speaker 1>cooked pizza in just a matter of moments. The movie

0:39:09.080 --> 0:39:11.239
<v Speaker 1>doesn't bother to explain how this works. But I mean,

0:39:11.280 --> 0:39:14.680
<v Speaker 1>the name hydrator suggests that you're adding water to something

0:39:14.719 --> 0:39:17.240
<v Speaker 1>in order to make it expand to the appropriate size,

0:39:17.880 --> 0:39:22.120
<v Speaker 1>and simultaneously it's somehow heating up the pizza at the

0:39:22.160 --> 0:39:25.800
<v Speaker 1>same time. Not sure how that works. Heat transfer isn't

0:39:25.880 --> 0:39:29.560
<v Speaker 1>magically instantaneous, so I don't know. But they don't bother

0:39:29.640 --> 0:39:32.000
<v Speaker 1>to explain it because it's just it's just a fun

0:39:32.000 --> 0:39:35.719
<v Speaker 1>little accent. It's not it's not meant to be analyzed

0:39:35.719 --> 0:39:38.600
<v Speaker 1>the way I'm doing it. I'm the jerk here. Then

0:39:38.680 --> 0:39:42.600
<v Speaker 1>there are all the flying machines like hoverboards and flying cars.

0:39:43.400 --> 0:39:46.040
<v Speaker 1>There's again not a lot of explanation about how these

0:39:46.040 --> 0:39:49.960
<v Speaker 1>things work. Presumably the hoverboards are generating some sort of

0:39:49.960 --> 0:39:55.400
<v Speaker 1>electromagnetic field that counteracts gravity somehow, although I can't even

0:39:55.440 --> 0:39:58.520
<v Speaker 1>begin to imagine how you can make that be a thing. Now,

0:39:58.600 --> 0:40:02.959
<v Speaker 1>you could use something like super conductivity to magnetically lock

0:40:03.120 --> 0:40:07.920
<v Speaker 1>something into a specific position over a magnetic track, but

0:40:08.120 --> 0:40:12.600
<v Speaker 1>that would require cooling the the something down to levels

0:40:13.280 --> 0:40:16.680
<v Speaker 1>of around absolute zero to get it super conductive. It's

0:40:16.680 --> 0:40:19.759
<v Speaker 1>not really practical. It's really hard to do, and you

0:40:19.760 --> 0:40:22.960
<v Speaker 1>would be limited to the magnetic surface itself. So in

0:40:22.960 --> 0:40:25.880
<v Speaker 1>other words, like you could have a track and you

0:40:25.880 --> 0:40:33.720
<v Speaker 1>could have a super conductive magnetic hoverboard over that track,

0:40:34.120 --> 0:40:36.200
<v Speaker 1>and it would hover, and you could push it and

0:40:36.200 --> 0:40:39.719
<v Speaker 1>it would just effortlessly slide all the way to the

0:40:39.840 --> 0:40:41.960
<v Speaker 1>end of the track. But it couldn't go off track

0:40:42.360 --> 0:40:44.800
<v Speaker 1>because it has to have that magnetic base to work,

0:40:44.840 --> 0:40:47.080
<v Speaker 1>and it has to be locked into a magnetic field.

0:40:47.360 --> 0:40:49.720
<v Speaker 1>If you go outside of that, you lose the effect.

0:40:50.120 --> 0:40:53.480
<v Speaker 1>And obviously we don't have those magical flying cars today,

0:40:54.000 --> 0:40:57.239
<v Speaker 1>let alone back in we do have some cars that

0:40:57.280 --> 0:41:01.440
<v Speaker 1>can fly, though the word cars being a little bit generous.

0:41:01.440 --> 0:41:05.680
<v Speaker 1>The most common variations I see are quad copter like designs.

0:41:05.719 --> 0:41:08.360
<v Speaker 1>So think of like a quad copter drone that is

0:41:08.400 --> 0:41:11.360
<v Speaker 1>a drone that has the four propellers that are you know,

0:41:11.400 --> 0:41:14.800
<v Speaker 1>kind of like the four corners around the drone, only

0:41:15.040 --> 0:41:17.319
<v Speaker 1>you know, supersize it, make it big enough so that

0:41:17.360 --> 0:41:19.600
<v Speaker 1>you could have a compartment where a person could sit

0:41:19.719 --> 0:41:23.240
<v Speaker 1>inside of it in the middle. Um. There are tons

0:41:23.239 --> 0:41:27.319
<v Speaker 1>of companies working on making flying cars reality, mostly with

0:41:27.400 --> 0:41:31.040
<v Speaker 1>the goal of creating a ride hailing service similar to

0:41:31.080 --> 0:41:34.719
<v Speaker 1>like Uber or lift, in which customers pay to fly

0:41:34.880 --> 0:41:38.120
<v Speaker 1>across town without having to deal with street traffic. But

0:41:38.440 --> 0:41:41.160
<v Speaker 1>that technology is going to hinge not just on making

0:41:41.200 --> 0:41:45.080
<v Speaker 1>the stuff safe and reliable, but also creating the regulations

0:41:45.160 --> 0:41:49.000
<v Speaker 1>that will guide how the tech can interoperate with you know,

0:41:49.040 --> 0:41:52.160
<v Speaker 1>the rest of the environment, like a city. You're gonna

0:41:52.200 --> 0:41:56.000
<v Speaker 1>have to have rules for that otherwise the potential for

0:41:56.120 --> 0:41:59.160
<v Speaker 1>disaster is just way too high. Uh. And to me,

0:41:59.280 --> 0:42:02.120
<v Speaker 1>the biggest p of technology from Back to the Future too,

0:42:02.239 --> 0:42:04.359
<v Speaker 1>and really the end of the first Back to the

0:42:04.360 --> 0:42:09.400
<v Speaker 1>Future is Mr fusion. This device presumably uses fusion to

0:42:09.520 --> 0:42:13.040
<v Speaker 1>generate electricity, and it's enough to provide the one point

0:42:13.080 --> 0:42:17.280
<v Speaker 1>twenty one jiggawatts of power for the Delorean's time circuits.

0:42:17.960 --> 0:42:23.759
<v Speaker 1>Fusion involves fusing atoms together. It's the process that the

0:42:23.800 --> 0:42:28.080
<v Speaker 1>Sun goes through where it uh it fuses hydrogen atoms

0:42:28.080 --> 0:42:31.960
<v Speaker 1>into helium at a temperature of millions of degrees. The

0:42:32.040 --> 0:42:34.799
<v Speaker 1>process requires a lot of energy to get started. Like

0:42:34.840 --> 0:42:38.480
<v Speaker 1>you know, with the Sun, you've got this intense gravitational pull.

0:42:38.560 --> 0:42:43.759
<v Speaker 1>You've got really dense system there, uh and incredible temperatures.

0:42:43.800 --> 0:42:46.080
<v Speaker 1>So it's got this amazing amount of energy that can

0:42:46.120 --> 0:42:51.239
<v Speaker 1>sustain this process. But here on Earth, I mean, it

0:42:51.360 --> 0:42:54.359
<v Speaker 1>requires a lot of of energy and pressure to get

0:42:54.400 --> 0:42:59.520
<v Speaker 1>this thing started. And yeah, the output is potentially even

0:42:59.560 --> 0:43:05.080
<v Speaker 1>more energy, but sustaining that reaction is very challenging to do.

0:43:05.239 --> 0:43:10.400
<v Speaker 1>Scientists around the world are working on developing practical fusion reactors.

0:43:11.080 --> 0:43:13.440
<v Speaker 1>So far, the amount of energy needed to start and

0:43:13.520 --> 0:43:17.000
<v Speaker 1>sustain a fusion reaction is greater than what we get

0:43:17.000 --> 0:43:18.880
<v Speaker 1>out of it, Like we can have a net positive

0:43:18.960 --> 0:43:24.319
<v Speaker 1>outcome on an individual reaction, but sustaining it so that

0:43:24.680 --> 0:43:27.560
<v Speaker 1>we can do something useful with it. That's a different matter.

0:43:28.239 --> 0:43:32.239
<v Speaker 1>If we can get through that, that will be a

0:43:32.320 --> 0:43:37.040
<v Speaker 1>transformational change for the world. I don't think, however, we're

0:43:37.040 --> 0:43:39.760
<v Speaker 1>ever going to see fusion reactors that can be small

0:43:39.880 --> 0:43:42.960
<v Speaker 1>enough to be incorporated into the electrical system of a vehicle,

0:43:43.320 --> 0:43:46.840
<v Speaker 1>nor can I imagine a need to do that. And

0:43:46.880 --> 0:43:48.919
<v Speaker 1>to be fair, the techa back to the Future too

0:43:48.960 --> 0:43:51.880
<v Speaker 1>was always intended to be whimsical, and some of the

0:43:51.920 --> 0:43:55.799
<v Speaker 1>stuff we've seen in the movie has kind of come

0:43:55.840 --> 0:43:58.560
<v Speaker 1>to pass, just not necessarily in the way that it

0:43:58.640 --> 0:44:03.200
<v Speaker 1>showed up on screen. Alright, let's close out this list

0:44:03.719 --> 0:44:06.920
<v Speaker 1>with the movie Blade Runner. Blade Runner came out in

0:44:07.080 --> 0:44:10.800
<v Speaker 1>nineteen eight two, but it's set in the year twenty nineteen.

0:44:11.520 --> 0:44:15.399
<v Speaker 1>It's a science fiction film noir kind of movie. Now,

0:44:15.400 --> 0:44:18.600
<v Speaker 1>if you've never seen it, you should totally watch it.

0:44:18.600 --> 0:44:22.839
<v Speaker 1>It is an amazing movie. I will warn you. There

0:44:22.840 --> 0:44:26.640
<v Speaker 1>are some very slowly paced moments in that film, Like

0:44:26.920 --> 0:44:29.400
<v Speaker 1>there might be some bits where you find yourself saying,

0:44:29.520 --> 0:44:32.720
<v Speaker 1>get on with it as you watch people very slowly

0:44:32.760 --> 0:44:37.399
<v Speaker 1>walk around a building for what feels like an eternity,

0:44:37.400 --> 0:44:41.800
<v Speaker 1>But the premise is really neat. So in this version

0:44:41.920 --> 0:44:45.800
<v Speaker 1>of two thousand nineteen, you are in a densely populated

0:44:45.920 --> 0:44:50.440
<v Speaker 1>and dystopian Los Angeles, and there's this big social problem.

0:44:50.719 --> 0:44:57.080
<v Speaker 1>So humanity has developed a way to bio engineer synthetic humans.

0:44:57.120 --> 0:45:01.200
<v Speaker 1>So they're kind of like androids, but they're not robots.

0:45:01.239 --> 0:45:04.400
<v Speaker 1>They're made out of gooey, fleshy stuff. I mean, I

0:45:04.440 --> 0:45:06.520
<v Speaker 1>guess you could call them robots in the sense that

0:45:06.600 --> 0:45:10.400
<v Speaker 1>they are more like the robots of the original Roslum's

0:45:10.480 --> 0:45:14.680
<v Speaker 1>Universal Robots, which was the Czechoslovakian play from the early

0:45:14.760 --> 0:45:17.400
<v Speaker 1>twentieth century. They have a lot more in common with

0:45:17.440 --> 0:45:22.319
<v Speaker 1>those than with the danger Will Robinson style robots that

0:45:22.360 --> 0:45:25.360
<v Speaker 1>we think of today. But yeah, we call them replicants

0:45:25.360 --> 0:45:27.960
<v Speaker 1>in the movie. Uh. And the reason that humans even

0:45:28.000 --> 0:45:31.600
<v Speaker 1>made replicants is the same reason that we typically make robots.

0:45:32.080 --> 0:45:34.520
<v Speaker 1>It's so that we have something to take care of

0:45:34.520 --> 0:45:37.680
<v Speaker 1>the work that is one of the three ds that

0:45:37.840 --> 0:45:45.279
<v Speaker 1>is dull, dirty, and dangerous. So these synthetics, these replicants

0:45:45.280 --> 0:45:48.359
<v Speaker 1>are meant to take on jobs that traditionally humans would

0:45:48.400 --> 0:45:51.200
<v Speaker 1>have to do. But it's not very fulfilling work, and

0:45:51.239 --> 0:45:54.960
<v Speaker 1>it can be very dangerous and both physically and mentally,

0:45:55.040 --> 0:45:57.160
<v Speaker 1>and have a negative impact on the people who do

0:45:57.239 --> 0:46:00.400
<v Speaker 1>the work, so the ideas you offload that work to

0:46:01.160 --> 0:46:03.799
<v Speaker 1>a machine. So in this case, the machine is a

0:46:03.800 --> 0:46:06.680
<v Speaker 1>synthetic human, and they are not considered to be quote

0:46:06.760 --> 0:46:11.640
<v Speaker 1>unquote real. The replicants are meant to be used off world,

0:46:12.000 --> 0:46:14.959
<v Speaker 1>not on Earth, in other words, but four of them

0:46:15.239 --> 0:46:18.480
<v Speaker 1>have escaped and made it to Earth in order to

0:46:18.560 --> 0:46:22.160
<v Speaker 1>experience Earth, and a former police officer who specializes in

0:46:22.280 --> 0:46:26.479
<v Speaker 1>identifying and tracking down replicants, which is a specific job

0:46:26.560 --> 0:46:31.520
<v Speaker 1>called a blade runner, is essentially extorted into eliminating these

0:46:31.560 --> 0:46:34.160
<v Speaker 1>four replicants. Now, I'm not gonna ruin the story. It

0:46:34.320 --> 0:46:37.200
<v Speaker 1>is worth seeing and it has some of the most

0:46:37.480 --> 0:46:41.960
<v Speaker 1>beautiful imagery in early nine science fiction. Also has one

0:46:42.000 --> 0:46:44.759
<v Speaker 1>of the most famous speeches in science fiction films of

0:46:44.760 --> 0:46:48.640
<v Speaker 1>all time. But let's talk about the tech. Clearly, we

0:46:48.840 --> 0:46:52.279
<v Speaker 1>can't create synthetic human beings right now, there's been some

0:46:52.360 --> 0:46:56.480
<v Speaker 1>amazing research and development in synthetic organs, or replicated and

0:46:56.600 --> 0:47:01.040
<v Speaker 1>three D printed organs. That stuff is a slutely amazing.

0:47:01.200 --> 0:47:05.960
<v Speaker 1>Scientists are creating bio friendly scaffolds, and on the scaffolds

0:47:05.960 --> 0:47:09.959
<v Speaker 1>they can then print tissue structure, so that research could

0:47:09.960 --> 0:47:12.640
<v Speaker 1>potentially lead to a future in which we use stuff

0:47:12.680 --> 0:47:17.200
<v Speaker 1>like a patient's stem cells to create three D printed

0:47:17.520 --> 0:47:21.359
<v Speaker 1>synthetic organs and use that for stuff like transplants. So

0:47:21.400 --> 0:47:25.799
<v Speaker 1>if that panned out, it would revolutionize transplant surgery. You

0:47:25.840 --> 0:47:28.960
<v Speaker 1>potentially you could cut way down on the risk of

0:47:29.000 --> 0:47:33.359
<v Speaker 1>the recipient's body rejecting the new organ, because if the

0:47:33.520 --> 0:47:38.600
<v Speaker 1>organ is created using essentially tissue from the donor like

0:47:38.640 --> 0:47:42.640
<v Speaker 1>the actual patient, then the body is at least the

0:47:42.640 --> 0:47:46.600
<v Speaker 1>thought goes more likely to accept the new organ. Yeah,

0:47:46.640 --> 0:47:49.160
<v Speaker 1>we're not able to make a fully synthetic human being.

0:47:50.080 --> 0:47:52.520
<v Speaker 1>The replicants on the run in the film are classified

0:47:52.560 --> 0:47:56.080
<v Speaker 1>as Nexus six replicants. Google got a little cheeky when

0:47:56.200 --> 0:48:00.239
<v Speaker 1>through its Motorola Mobility division it no longer has that ada.

0:48:00.280 --> 0:48:03.040
<v Speaker 1>At the time, it developed an Android phone and it

0:48:03.080 --> 0:48:05.520
<v Speaker 1>was codenamed Shamu, but when they released it they called

0:48:05.560 --> 0:48:09.560
<v Speaker 1>it the Nexus six. Cute reference and Blade Runner also

0:48:09.640 --> 0:48:12.360
<v Speaker 1>features flying cars just like Back to the Future too,

0:48:12.680 --> 0:48:15.239
<v Speaker 1>and like Back to the Future Too, how they fly

0:48:15.560 --> 0:48:18.400
<v Speaker 1>isn't important, so I can't really comment on the proposed

0:48:18.440 --> 0:48:20.799
<v Speaker 1>methods except to say, obviously we don't have it in

0:48:20.800 --> 0:48:23.799
<v Speaker 1>real life. The film feature stuff that would be out

0:48:23.800 --> 0:48:26.320
<v Speaker 1>of place in the real Two thousand nineteen. For instance,

0:48:26.360 --> 0:48:30.359
<v Speaker 1>the main character looks through tons of polaroid photographs, so

0:48:30.440 --> 0:48:33.120
<v Speaker 1>today he would more likely be looking through a folder

0:48:33.160 --> 0:48:37.200
<v Speaker 1>of digital images. He also uses a machine called an esper,

0:48:37.480 --> 0:48:40.880
<v Speaker 1>which can analyze a two dimensional photograph and then produce

0:48:41.000 --> 0:48:44.279
<v Speaker 1>views of stuff that are in that photograph that are

0:48:44.320 --> 0:48:47.760
<v Speaker 1>from other angles. Like imagine you've taken a still photo

0:48:48.000 --> 0:48:50.319
<v Speaker 1>of a table, So you're you're standing on one side

0:48:50.320 --> 0:48:52.520
<v Speaker 1>of the table. You take a picture, you use this thing,

0:48:52.840 --> 0:48:55.799
<v Speaker 1>you could theory theoretically look at the table from a

0:48:55.840 --> 0:48:59.719
<v Speaker 1>one degree change in view, like you were standing on

0:48:59.760 --> 0:49:02.840
<v Speaker 1>the opposite side. Now, computers can do some pretty cool stuff,

0:49:03.280 --> 0:49:05.319
<v Speaker 1>but doing that in real time isn't something we can

0:49:05.360 --> 0:49:08.840
<v Speaker 1>easily manage. And also, you know, we would really just

0:49:08.880 --> 0:49:11.480
<v Speaker 1>be looking at a best guest scenario, like the computer

0:49:11.520 --> 0:49:13.960
<v Speaker 1>would be guessing what the other side looked like. It

0:49:13.960 --> 0:49:18.319
<v Speaker 1>wouldn't really be useful. All right. That is just a

0:49:18.400 --> 0:49:22.200
<v Speaker 1>quick rundown of some science fiction movies, the main predictions

0:49:22.239 --> 0:49:26.080
<v Speaker 1>that have not quite turned out the way people envisioned.

0:49:26.400 --> 0:49:30.800
<v Speaker 1>I hope you enjoyed this rambling discussion of science fiction.

0:49:31.080 --> 0:49:34.480
<v Speaker 1>I like doing episodes about sci fi occasionally. It's always

0:49:34.480 --> 0:49:37.719
<v Speaker 1>fun if you have any movies specifically you would like

0:49:37.800 --> 0:49:40.279
<v Speaker 1>me to really dive into and talk about from a

0:49:40.320 --> 0:49:44.240
<v Speaker 1>technical level, like the tech that's either went into making

0:49:44.239 --> 0:49:46.920
<v Speaker 1>the movie or the tech that's displayed within the movie itself,

0:49:47.040 --> 0:49:50.759
<v Speaker 1>let me know, or any other topics. I'm eager to

0:49:50.840 --> 0:49:53.120
<v Speaker 1>hear your thoughts. The best way to get in touch

0:49:53.239 --> 0:49:55.399
<v Speaker 1>is with Twitter. The handle for the show is tech

0:49:55.480 --> 0:50:00.319
<v Speaker 1>Stuff hs W and I'll talk to you again really soon. Yeah.

0:50:04.360 --> 0:50:07.399
<v Speaker 1>Text Stuff is an I Heart Radio production. For more

0:50:07.480 --> 0:50:10.840
<v Speaker 1>podcasts from I Heart Radio, visit the i Heart Radio app,

0:50:11.000 --> 0:50:14.160
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.