A 15th century polymath of soaring imagination and profound intellect, Leonardo da Vinci created some of the most revered works of art of all time, but his artistic endeavors often seemed peripheral to his pursuits in science and engineering. Through his paintings and thousands of pages of drawings and writings, Leonardo da Vinci explores one of humankind’s most curious and innovative minds.
The trailer for the series is above and there are several extended clips available on the website and on YouTube.
Ken Burns’s two-part, four-hour documentary, Benjamin Franklin, explores the revolutionary life of one of the 18th century’s most consequential and compelling personalities, whose work and words unlocked the mystery of electricity and helped create the United States. Franklin’s 84 years (1706-1790) spanned an epoch of momentous change in science, technology, literature, politics, and government — fields he himself advanced through a lifelong commitment to societal and self-improvement.
Also available to watch while we wait for the series is this 6-minute extended scene about Franklin, smallpox, and his son Frankie.
For more reading on the history of smallpox inoculation and its introduction to America by an enslaved African man named Onesimus, check out thesetwo articles. (via @CharlesCMann)
Netflix has put When They See Us, Ava DuVernay’s 4-episode mini-series about the Central Park Five, in front of their paywall for free viewing. Here’s the trailer:
The series tells the story of the rapid evolution of genetic science from Gregor Mendel’s groundbreaking experiment in the 19th century to CRISPR, and the hope that newfound powers to alter DNA with pinpoint precision will transform the treatment of some of the world’s most complex and challenging diseases. The series also tackles the daunting ethical challenges that these technologies pose for humankind.
This looks great, especially if this clip about Nancy Wexler’s crusade to find a cure for Huntington’s disease is representative of the whole:
In 1968, Nancy Wexler’s mother was diagnosed with a rare genetic disease - Huntington’s. Facing a 50-50 chance of contracting Huntington’s herself, Wexler — a non-scientist — began an odyssey to find the gene that causes the disease. For three decades, Wexler searched for treatments but chose not to get tested. As time passed, she noticed changes in the way she moved. Finally, in early 2020, Wexler decided to face her fears.
Part 1 of the series is now streaming on PBS with part 2 set to premiere next week.
In the latest issue of his newsletter, Rex Sorgatz proposes a name for the growing collection of media about the recent past: the Historical Cinematic Universe (HCU for short, name after the MCU, naturally).
By my estimation, the uptick started in movies, with a surge in reality-based Oscar-bait like Spotlight, The Wolf of Wall Street, The Post, The Social Network, and the films of Adam McKay, especially Vice and The Big Short. More recently, and more significantly, the trend has spilled into scripted television, with such ambitious projects as HBO’s Brexit movie, Paramount’s Waco miniseries, Netflix’s Unabomber series, USA’s Tupac / Biggie miniseries, Hulu’s 9/11 series, Buzzfeed’s 1968 series, and, of course, HBO’s Chernobyl miniseries, which is the best show on TV right now. (A+ rec!)
With the influx of scripted historical reinterpretation, traditional documentaries have broadened their scope, expanding into binge experiences. The boomlet is most obvious in those esteemed investigations from HBO, such as Leaving Neverland and The Jinx. But this vim for verisimilitude has spread to unexpected locales, like Lifetime, with Surviving R. Kelly, and A&E, with The Clinton Affair, my personal favorite of this genre. Each of these historical investigations have yielded massive cultural influence.
I am a huge fan of the HCU, particularly of podcasts like Slow Burn and an excellent documentary he doesn’t mention, OJ: Made in America. As Sorgatz notes, Slow Burn creator Leon Neyfakh just launched a new podcast called Fiasco, the first season of which is about the 2000 Bush/Gore election.1 The podcast is only available via subscription, but you can listen to the first episode on the website.
Update: In this video, Patrick Willems talks about accidental cinematic universes, like the one about the US space program, which combines films like The Right Stuff, Apollo 13, Hidden Figures, and First Man into one overarching narrative. Or the British WWII cinematic universe that includes movies like The King’s Speech, Darkest Hour, and Dunkirk.
Which I have been thinking about a lot recently — it is recent history’s biggest counterfactual. Imagine a world where Al Gore became President in 2001. The US taking climate change seriously back then would have made a huge difference. No using 9/11 to sharply escalate our meddling & deadly presence in the Middle East. Perhaps no financial crisis in 2008. Perhaps no Roberts or Alito on the Supreme Court. Sigh.↩
I’m about two-thirds of the way through Ken Burns & Lynn Novick’s The Vietnam War on PBS. Much like the war itself, the series is epic and complicated and weird and perhaps even too long.1
NY Times TV critic James Poniewozik says that The Vietnam War “is not Mr. Burns’s most innovative film”, but I would argue that doesn’t apply to the music. Half of the music is what you would expect: rock and folk music from 60s & 70s groups and musicians like Bob Dylan, Jimi Hendrix, Janis Joplin, CCR, The Rolling Stones, Otis Redding, etc. More than two hours of songs used during the series have been released on this album:
Then there’s all that popular music from the 60s and 70s: more than 120 songs by the artists who actually soundtracked the times, such as Bob Dylan, Joan Baez, the Animals, Janis Joplin, Wilson Pickett, Buffalo Springfield, the Byrds, the Rolling Stones, and even the ordinarily permissions-averse and budget-breaking Beatles. Of the Beatles, Novick noted, “They basically said, We think this is an important part of history, we want to be part of what you’re doing, and we will take the same deal everybody else gets. That’s kind of unprecedented.”
But an original score was also provided by Trent Reznor and Atticus Ross that sounds a lot like their work on The Social Network and The Girl with the Dragon Tattoo.
Seven episodes in, I’m used to the mix of music, but the effect is definitely discongruous; the transitions pulled me out of the narrative more than once. Not sure that’s the effect they were going for…
The whole series starts off on a wrong note. Literally the first thing you hear in the first episode is a shout-out to the sponsors: “Major support for the Vietnam War was provided by…”, which my brain quickly filled in as “Robert MacNamara, Dow Chemical, the American military industrial complex, etc etc” ↩
Together with Lynn Novick, filmmaker Ken Burns, who has previously made long documentary films on The Civil War and World War II, has made a film about perhaps the most controversial and contentious event in American history, The Vietnam War. The film runs for 18 hours across 10 installments and begins on September 17 on PBS.
I watched the whole series in a marathon viewing session a few days before meeting with the filmmakers — a knock-you-sideways experience that was as enlightening as it was emotionally taxing. For all their unguarded anxiety about doing the war justice, Burns and Novick have pulled off a monumental achievement. Audiovisually, the documentary is like no other Burns-branded undertaking. Instead of folksy sepia and black-and-white, there are vivid jade-green jungles and horrific blooms of napalm that explode into orange and then gradually turn smoky black. The Vietnam War was the first and last American conflict to be filmed by news organizations with minimal governmental interference, and the filmmakers have drawn from more than 130 sources for motion-picture footage, including the U.S. networks, private home-movie collections, and several archives administered by the Socialist Republic of Vietnam. The series’s depiction of the Tet offensive, in which the North Vietnamese launched coordinated attacks on the South’s urban centers, is particularly and brutally immersive, approaching a 360-degree experience in its deft stitching together of footage from various sources.
The sound and music promises to thrill as well. Trent Reznor and Atticus Ross (who did the scores for The Social Network, Gone Girl, and The Girl with the Dragon Tattoo) provided original music to supplement popular music contemporary to the time. They even got The Beatles.
Then there’s all that popular music from the 60s and 70s: more than 120 songs by the artists who actually soundtracked the times, such as Bob Dylan, Joan Baez, the Animals, Janis Joplin, Wilson Pickett, Buffalo Springfield, the Byrds, the Rolling Stones, and even the ordinarily permissions-averse and budget-breaking Beatles. Of the Beatles, Novick noted, “They basically said, We think this is an important part of history, we want to be part of what you’re doing, and we will take the same deal everybody else gets. That’s kind of unprecedented.”
In the late 1980s, five black and Latino teenagers were wrongly convicted of raping a woman jogging in Central Park. The Central Park Five is a documentary film directed by Ken Burns, Sarah Burns, and David McMahon which tells the story from the perspective of the those five teens. I’ve seen the film, it’s excellent, and it’s currently available to watch for free on the PBS website.
Perhaps he thought it gave him gravitas, that spring, to weigh in on the character of the teen-agers in the park: “How can our great society tolerate the continued brutalization of its citizens by crazed misfits? Criminals must be told that their CIVIL LIBERTIES END WHEN AN ATTACK ON OUR SAFETY BEGINS!”
When NYC finally settled with the wrongly convicted men in 2014, Trump denounced the settlement, joining a police detective in calling it “the heist of the century.” And just before Trump’s crowing about sexual assault of women broke over the weekend, Trump reaffirmed that despite all evidence to the contrary, he believes that the five men are still guilty.
At Wait But Why, Tim Urban turns history on its side by thinking about time-synchronized events around the world, as opposed to events through the progression of time in each part of the world.
Likewise, I might know that Copernicus began writing his seminal work On the Revolutions of the Celestial Spheres in Poland in the early 1510s, but by learning that right around that same time in Italy, Michelangelo painted the ceiling of the Sistine Chapel, I get a better picture of the times. By learning that it was right while both of these things were happening that Henry VIII married Catherine of Aragon in England, the 1510s suddenly begins to take on a distinct personality. These three facts, when put together, allow me to see a more three-dimensional picture of the 1510s — it allows me to see the 1510s horizontally, like cutting out a complete segment of the vine tangle and examining it all together.
He does this mainly by charting and graphing the lifetimes of famous people, revealing hidden contemporaries.
I’ve been slowly making my way through Ken Burns’ remastered The Civil War.1 At a few points in the program, narrator David McCullough reminds the viewer of what was going on around the world at the same time as the war. In the US, 1863 brought the Battle of Gettysburg and The Emancipation Proclamation. But also:
In Paris that year, new paintings by Cezanne, Whistler, and Manet were shown at a special exhibit for outcasts. In Russia, Dostoevsky finished Notes from the Underground. And in London, Karl Marx labored to complete his masterpiece, Das Kapital.
And a year later, while the advantage in the war was turning towards the US:1
In 1864, a rebellion in China that cost 20 million lives finally came to an end. In 1864, the Tsar’s armies conquered Turkistan and Tolstoy finished War and Peace. In 1864, Louis Pasteur pasteurized wine, the Geneva Convention established the neutrality of battlefield hospitals, and Karl Marx founded the International Workingmen’s Association in London and in New York.
Urban explicitly references the war in his post:
People in the US associate the 1860s with Lincoln and the Civil War. But what we overlook is that the 1860s was one of history’s greatest literary decades. In the ten years between 1859 and 1869, Darwin published his world-changing On the Origin of Species (1859), Dickens published A Tale of Two Cities (1859) and Great Expectations (1861), Lewis Carroll published Alice in Wonderland (1865), Dostoyevsky published Crime and Punishment (1866), and Tolstoy capped things off with War and Peace (1869).
The Civil War. The Origin of Species. Alice in Wonderland. The infancy of Impressionism. Pasteurization. Das Kapital. Gregor Mendel’s laws of inheritance. All in an eight-year span. Dang.
Which is simply excellent. I had forgotten how powerful the storytelling technique Burns devised for his documentaries is. Really really worth your time to watch or re-watch.↩
In talking about the Civil War, I’ve been trying to use Michael Todd Landis’ new language…so, “labor camps” instead of “plantations” and “United States” instead of “Union”.↩
Oh, this sounds fantastic: PBS is set to air a six-hour documentary series, Cancer: The Emperor of All Maladies, starting at the end of March. How have I not heard about this before today?
This “biography” of cancer covers its first documented appearances thousands of years ago through the epic battles in the 20th century to cure, control and conquer it, to a radical new understanding of its essence. The series also features the current status of cancer knowledge and treatment — the dawn of an era in which cancer may become a chronic or curable illness rather than its historic death sentence in some forms.
The series is based on Siddhartha Mukherjee’s The Emperor of All Maladies: A Biography of Cancer, which is one of the most interesting books I’ve read in the past few years. Ken Burns is executive producing and Barak Goodman is directing.
Thanks to Sarah Klein at Redglass Pictures for letting me know about this. Redglass created a pair of videos for the series featuring Terrence Howard and Ken Jeong talking about their experiences with cancer.
More than any other invention of our time, the Internet has unlocked possibilities we could just barely imagine a generation ago. And here’s a big reason we’ve seen such incredible growth and innovation: Most Internet providers have treated Internet traffic equally. That’s a principle known as “net neutrality” — and it says that an entrepreneur’s fledgling company should have the same chance to succeed as established corporations, and that access to a high school student’s blog shouldn’t be unfairly slowed down to make way for advertisers with more money.
That’s what President Obama believes, and what he means when he says there should be no gatekeepers between you and your favorite online sites and services.
With another compromise looming, the President today released a video that suggests, in short, that he’s had it. In unusually explicit terms, he has told the agency exactly what it should do. Enough with the preëmptive compromises, the efforts to appease the carriers, and other forms of wiggle and wobble. Instead, the President said, enact a clear, bright-line ban on slow lanes, and fire up the agency’s strongest legal authority, Title II of the 1934 Communications Act, the “main guns” of the battleship F.C.C.
Motherboard notes that the classification of the internet as a utility would not include rate regulations.
To do this, Obama said the FCC should reclassify internet services as a utility, but should do it in a way that has slightly different rules than say, an electric company. Obama’s suggested rules focus specifically on net neutrality and service interruption, not prices, a concession to big telecom companies.
“I believe the FCC should reclassify consumer broadband service under Title II of the Telecommunications Act — while at the same time forbearing from rate regulation and other provisions less relevant to broadband services,” he said.
In a series of tweets, historian Yoni Appelbaum connects the dots between net neutrality and the Affordable Care Act a bit more elegantly than Ted Cruz did:
Obama’s call for net neutrality his latest effort to grow the economy by defending equality of opportunity. The ACA is the biggest boon for entrepreneurs in generations, allowing individuals to take economic risks without risking their health. The common thread here is a policy framework giving individuals the same access to essential resources as enormous institutions. Obama prefers to stress commonalities than to define his policies in such oppositional terms. But still, that’s what he’s doing here.
It wouldn’t be so bad, if the line still moved. But it doesn’t. It stops, every time a group of people with Flash Passes cut to the front. You used to be able to go on, say, three or four rides an hour, even on the most crowded days. Now you go on one or two. After four hours at Whitewater the other day, my daughter and I had gone on five. And so it’s not just that some people can afford to pay for an enhanced experience. It’s that your experience — what you’ve paid full price for — has been devalued. The experience of the line becomes an infernal humiliation; and the experience of avoiding the line becomes the only way to enjoy the water park. You used to pay for equal access; now you have to pay for access that’s more equal than the access afforded others. The commonality of experience is lost, and the lines are striated not simply by who can pay for a Flash Pass and who can’t; they’re also striated by race and class. The people sporting the Flash Passes are almost exclusively white, and they tend to be in better shape than those stuck on line. They tend to have fewer tattoos, and to look less, well, pagan. And by the end of the day, they start cutting lines where Flash Passes don’t even apply — because they feel entitled to — and none of them, not even their kids, will so much as look at you.
I think 2008 and 2012 Obama voters are nodding their heads here at Appelbaum’s and Junod’s thoughts…Obama’s statement on net neutrality and the rationale behind it is what they voted for. If you watched any of Ken Burns’ The Roosevelts on PBS, you’ll recognize this is right out of TR’s and FDR’s playbooks. Worth noting also that Teddy was a Republican and FDR a Democrat.
The five men whose convictions in the brutal 1989 beating and rape of a female jogger in Central Park were later overturned have agreed to a settlement of about $40 million from New York City to resolve a bitterly fought civil rights lawsuit over their arrests and imprisonment in the sensational crime.
The agreement, reached between the city’s Law Department and the five plaintiffs, would bring to an end an extraordinary legal battle over a crime that came to symbolize a sense of lawlessness in New York, amid reports of “wilding” youths and a marauding “wolf pack” that set its sights on a 28-year-old investment banker who ran in the park many evenings after work.
This seven-part, fourteen hour film follows the Roosevelts for more than a century, from Theodore’s birth in 1858 to Eleanor’s death in 1962. Over the course of those years, Theodore would become the 26th President of the United States and his beloved niece, Eleanor, would marry his fifth cousin, Franklin, who became the 32nd President of the United States. Together, these three individuals not only redefined the relationship Americans had with their government and with each other, but also redefined the role of the United States within the wider world. The series encompasses the history the Roosevelts helped to shape: the creation of National Parks, the digging of the Panama Canal, the passage of innovative New Deal programs, the defeat of Hitler, and the postwar struggles for civil rights at home and human rights abroad. It is also an intimate human story about love, betrayal, family loyalty, personal courage and the conquest of fear.
Caught The Central Park Five on PBS last night and it’s one of those films that puts you into rage-against-the-machine mode.
The Central Park Five, a new film from award-winning filmmaker Ken Burns, tells the story of the five black and Latino teenagers from Harlem who were wrongly convicted of raping a white woman in New York City’s Central Park in 1989. The film chronicles The Central Park Jogger case, for the first time from the perspective of these five teenagers whose lives were upended by this miscarriage of justice.
The entire film is available to watch on the PBS web site. Tonight, there’s a TimesTalk in NYC featuring Ken Burns, Sarah Burns, Times columnist Jim Dwyer, and all five of the exonerated men; the talk will be broadcast live on the web here.
The Dust Bowl is a four-hour documentary by Ken Burns airing on PBS starting this weekend.
The Dust Bowl chronicles the worst man-made ecological disaster in American history, in which the frenzied wheat boom of the “Great Plow-Up,” followed by a decade-long drought during the 1930s nearly swept away the breadbasket of the nation. Vivid interviews with twenty-six survivors of those hard times, combined with dramatic photographs and seldom seen movie footage, bring to life stories of incredible human suffering and equally incredible human perseverance. It is also a morality tale about our relationship to the land that sustains us — a lesson we ignore at our peril.
You can watch the first five minutes of the film on the PBS site.
In this short film by Sarah Klein and Tom Mason, Ken Burns shares his thoughtful perspective on what makes a good story.
Abraham Lincoln wins the Civil War and then he decides he’s got enough time to go to the theatre. That’s a good story. When Thomas Jefferson said “we hold these truths to be self-evident, that all men are created equal”, he owned a hundred human beings and never saw the hypocrisy, never saw the contradiction, and more importantly never saw fit in his lifetime to free any one of them. That’s a good story.
PROHIBITION is a three-part, five-and-a-half-hour documentary film series directed by Ken Burns and Lynn Novick that tells the story of the rise, rule, and fall of the Eighteenth Amendment to the U.S. Constitution and the entire era it encompassed. Prohibition was intended to improve, even to ennoble, the lives of all Americans, to protect individuals, families, and society at large from the devastating effects of alcohol abuse. But the enshrining of a faith-driven moral code in the Constitution paradoxically caused millions of Americans to rethink their definition of morality.
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