Why does Elon Musk believe he can save the world by colonizing Mars? When PayPal was bought for $1.5 billion, Elon Musk and other company founders made huge personal fortunes. Musk used his to start the rocket company, SpaceX. He also began talking about very big plans for the future of humanity. He wanted humans to become ‘a multi-planetary species’ and said he was accumulating resources to 'extend the light of consciousness to the stars’. Soon he was talking about humans moving permanently to Mars. Future-of-humanity questions used to belong to religion and philosophy. Under ‘Muskism’ they belong more to engineering and entrepreneurship. Jill Lepore traces the history of Silicon Valley's fascination with existential catastrophism. In the second of five programs, strap in to head to Mars.

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Jill Lepore untangles the strange sci-fi roots of Silicon Valley's extreme capitalism - with its extravagant, existential and extra-terrestrial plans to save humanity. In this world, stock prices can be driven partly by fantasies found in blockbuster superhero movies, but that come from science fiction, some of it a century old. If anyone personifies this phenomenon, it's Elon Musk, the richest or second-richest person in the world on any given day. "The bare facts of Musk’s life, the way they’re usually told, make him sound like a fictional character, a comic-book superhero," says Lepore. He says he hopes to colonize Mars, create brain-hacking implants and avert an AI apocalypse. He even has a baby named X. In this first of five episodes Lepore looks at the early origins of ‘Muskism’, and explores how the science fiction stories that today’s techno-billionaires grew up on have shaped Silicon Valley’s vision of the future.

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Last Spring, Jill Lepore made a radio show with the BBC’s Radio 4 called The Evening Rocket, and now Pushkin Industries is releasing that show stateside for the first time. The Evening Rocket is all about Elon Musk, and his strange new kind of capitalism — call it Muskism, extravagant extreme capitalism, extraterrestrial capitalism, where stock prices are driven by earnings, and also by fantasies. The series explores Silicon Valley’s futurism, and how, in Musk’s life, those visions of the future all stem from the same place: the science-fiction he grew up on. To understand where Musk wants to take the rest of us - with his electric cars, his rockets to Mars, his meme stocks, and tunnels deep beneath the earth — Jill Lepore looks at those science fiction stories, and helps us understand what he’s missed about them.

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This week, we're presenting something fun from Malcolm Gladwell, co-founder of Pushkin. In a special series from his podcast, Revisionist History, Malcolm is launching a massive frontal assault on The Little Mermaid. You might wonder, "what's Malcolm doing? It's a children's classic!" But according to Malcolm, it's not a classic... It's a cinematic dumpster fire. And Revisionist History is devoting no fewer than three episodes to explain why. In the finale, Malcolm enlists an all-star cast to make his own version of The Little Mermaid, featuring Dax Shepard, Brit Marling, Jodie Foster and Glenn Close.

You can hear the entire three-part series, right now, at http://podcasts.pushkin.fm/lastarchiverh

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Presenting an episode from another podcast we think you’ll like, called HISTORY This Week. Each Monday, it brings you a story about the people, places, and moments that shaped history that week. In this episode, they delve into the history of the Fairness Doctrine, the rule that told broadcasters they had to present more than one side of an issue. In that same spirit, you'll hear from people who fought for and against the doctrine. You might remember from 'The Last Archive' Season 2 Episode 8, the doctrine became a source of much debate, even reaching the Supreme Court. 

You can listen to more episodes of HISTORY This Week at history.com/thelastarchive.

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This season has chronicled a long, dark century of lies, fakes, frauds, and hoaxes. In the season 2 finale, Jill Lepore draws that history all the way down to the lie that the 2020 election was stolen. This week: the winding path from the little-known Iron Mountain hoax of the late-1960s to the Capitol insurrection on January 6th, 2021.

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In the 1980s, Rush Limbaugh transformed talk radio. In the process, he radicalized his listeners and the conservative movement. Limbaugh’s talk radio style became a staple of the modern right. Then, the left joined the fray. This week: partisan loudmouth versus partisan loudmouth, and the shifting media landscape that helped create modern political warfare.

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In the 1970s, a Soviet journalist named Valentin Zorin made a series of documentary films about the United States. At a time when few Russian journalists came to the U.S., Zorin traveled all across the country, and gained access few American journalists had. The Cold War was a battle of ideas, and Zorin saw himself on the frontlines. He was on a quest to unmask the United States by spreading doubt, conspiracy theories, and a strange cocktail of truth and misinformation.

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A fake moon landing. Astronauts carrying space pathogens back to earth. Michael Crichton’s Andromeda Strain. HIV manufactured in a government laboratory. COVID-19 vaccines killing millions. In this episode, Jill Lepore follows a trail of disease stories and conspiracies from Apollo 11 to COVID-19. In part two of our series about the moon landing: Apollo’s splashdown, and the tidal wave of doubt it set off.

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In 1961, President Kennedy announced that the United States would go to the moon. Eight years later, the Apollo 11 astronauts set foot upon its surface. Millions of Americans watched live on their televisions as it happened, but somehow the pinnacle of man’s achievement became a wellspring of conspiracy theories. In this first episode of a two-part series on the moon landing, Jill Lepore traces the explosion of conspiratorial thinking that began with Apollo 11’s lift off — a path winding from awe of science, to the unshakeable faith that everything is a conspiracy. The more extraordinary scientific research and technology got, the more difficult it became to keep sight of the line between fact and fiction, and between the believable and the unbelievable. 

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