Palaeocast

LOOP 2.4: Silverback researcher Edd Dyer joins us to introduce us to his part in the creation of the series. The title ‘researcher’ really doesn’t do justice to the incredible scope of his role which includes far more than just looking up facts. We talk about his route into the industry and the necessary skills for the job. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific researc

LOOP 2.3: Hydrodynamicist Dr Tom Fletcher, Silverback Films, returns to explore the science behind Dunkleosteus. How much of the fossil is known? How does the model compare to the latest reconstruction of the animal? How much of the design is dictated by hydrodynamics? and is Dave ironically cool? Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting

LOOP 2.2: Prof. Christian Klug, University of Zurich, is our first academic guest. He introduces us to the Cambrian explosion, the Great Ordovician Biodiversification Event and the Late Ordovician Mass Extinction. Christian is an expert on cephalopods and he tells us more about their biology and his thoughts on the vertical orientation of Cameroceras in this series. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production ha

LOOP 2.1: We introduce episode two of Life On Our Planet and discuss our roles in its creation. We’re down deep in the geological time with all the “crunchy and squishy” organisms. We talk about our favourite scenes, jellyfish reproduction and the proper pronunciation of cephalopod. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting in one of the

In LOOP 1.2 we are joined by showrunner Dan Tapster. He’s the one responsible for pulling everything together, designing the story and creating the best production team. We learn about how LOOP first got started, why both CGI and modern footage was used, and how to cram billions of years of evolution into just 8 episodes.   Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific researc

Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting in one of the most accurate on-screen representations of prehistoric life there has ever been. And how do we know all this? Well, our very own team members Tom Fletcher and Dave Marshall have been embedded within the LOOP team since day one! We are therefore in a totally unique position to reveal

Following up on an initial discovery of ice-age remains in Byron, New York, in the 1950's, Dr Richard Laub took on the task of systematically excavating the 'Hiscock Site' for the Buffalo Museum of Science. Fieldwork commenced in 1983, but as more and more fossils were discovered at the site, the 'Byron Dig', as it became known, would continue for almost three decades. In that time, countless numbers of significant Late Pleistocene and Holocene discoveries were made, including those of mastodon, caribou and bird remains, as well as a rich record of Paleoindian tools. The Hiscock site proved to be incredibly challenging, not just in terms of physical excavation in its water-logged sediments, but also in developing an understanding of how this complex deposit had formed and evolved over the last ≈13,000 years. In many cases, it took years to figure out some of the details and whilst we have a good understanding of the site 40 years on, several questions still remain unanswered. In the second part of this interv

Following up on an initial discovery of ice-age remains in Byron, New York, in the 1950's, Dr Richard Laub took on the task of systematically excavating the 'Hiscock Site' for the Buffalo Museum of Science. Fieldwork commenced in 1983, but as more and more fossils were discovered at the site, the 'Byron Dig', as it became known, would continue for almost three decades. In that time, countless numbers of significant Late Pleistocene and Holocene discoveries were made, including those of mastodon, caribou and bird remains, as well as a rich record of Paleoindian tools. The Hiscock site proved to be incredibly challenging, not just in terms of physical excavation in its water-logged sediments, but also in developing an understanding of how this complex deposit had formed and evolved over the last ≈13,000 years. In many cases, it took years to figure out some of the details and whilst we have a good understanding of the site 40 years on, several questions still remain unanswered. In this interview, Dick join

A new Ordovician lagerstätte (site of special fossil preservation) has just been described from Llandrindod Wells, Wales. The site contains the remains of well over 150 different species, most of which are entirely new to science. It is dated to around 461 million years old, placing it at a critical point in life's evolution: the Great Ordovician Biodiversification Event. This is even more significant, considering the relative sparsity of lagerstätten of this time. We are joined in this interview by Drs Joe Botting and Lucy Muir, who discovered the Castle Bank site a short walk from their house whilst fossil collecting during covid lockdown in 2020. From them, we're able to learn what it's like to discover a new site of international significance and we question why the fossil from this site are so small.

Part 2. Caecilians, sometimes known as ‘blind worms’, are a lesser-known group of lissamphibians (all living amphibians). Most modern caecilians are all fossorial (burrowing) and are restricted to the moist soils and leaf litter of tropical forests. Adaptation to this specific ecology has led to radical modification of their bodies, from fusion of the bones in the head and the function of the jaw, to the loss of limbs and development of unique sensory organs. The fossil record of caecilians is incredibly poor, with only 10 specimens available for researchers to piece together their evolutionary history with. This is further problematic because without a firm understanding of caecilian evolution, we can’t understand the origins of lissamphibians, which includes the ecologically significant groups of frogs and salamanders. Published in Nature today, a new study led by Ben Kligman, Petrified Forest National Park and Virginia Tech, details numerous specimens of a new fossil caecilian. Discovered within a Triassi

Caecilians, sometimes known as ‘blind worms’, are a lesser-known group of lissamphibians (all living amphibians). Most modern caecilians are all fossorial (burrowing) and are restricted to the moist soils and leaf litter of tropical forests. Adaptation to this specific ecology has led to radical modification of their bodies, from fusion of the bones in the head and the function of the jaw, to the loss of limbs and development of unique sensory organs. The fossil record of caecilians is incredibly poor, with only 10 specimens available for researchers to piece together their evolutionary history with. This is further problematic because without a firm understanding of caecilian evolution, we can’t understand the origins of lissamphibians, which includes the ecologically significant groups of frogs and salamanders. Published in Nature today, a new study led by Ben Kligman, Petrified Forest National Park and Virginia Tech, details numerous specimens of a new fossil caecilian. Discovered within a Triassic deposit

Palaeontology (dinosaurs in particular) are incredibly well represented in nearly all forms of popular media today. From documentaries and films to computer games and even specialist podcasts. But where did the public fascination in dinosaurs come from? Has it always been there, ever since the existence of dinosaurs was first revealed, or has interest grown cumulatively with every public engagement milestone. This third and final part examines the need for modern films and documentaries to be able to substantiate their claims. How do we know whether or not the scenes they depict are based on palaeontological facts? The series then ends by stepping back and considering what the point of this kind of science communication is anyway.

Palaeontology (dinosaurs in particular) are incredibly well represented in nearly all forms of popular media today. From documentaries and films to computer games and even specialist podcasts. But where did the public fascination in dinosaurs come from? Has it always been there, ever since the existence of dinosaurs was first revealed, or has interest grown cumulatively with every public engagement milestone. In this special three-part episode of Palaeocast, guest host Dr Suresh Singh interviews Vicky Coules about the history of palaeontology in pop culture. Vicky is a PhD student at the University of Bristol, but has a background in art, engineering and documentary production. Her current research focuses on the interrelationship between palaeontology as a science and as an art, with a focus on late 19th and early 20th century America.

Computer games are a colossal industry, eclipsing those of both film and music combined. With so many people playing games, and with so many titles focussing on palaeontological themes, should we be concerned about the accuracy and quality of their content? Joining us for the second part of this interview are Thomas Clements and Jake Atterby, lead authors on a paper in which they address this issue as communicators of science. We discuss what some of the most common negative tropes within these games are, whether or not games should be used to teach palaeo, and why any of us should care anyway. If you like this content and wish to see full reviews of many of these games (and lots more), please check out the Palaeocast Gaming Network channel on YouTube.

Scleromochlus is an animal that has been known for over 100 years, and has been frequently suggested as being an ancestor to pterosaurs. It hails from the Late Triassic of Scotland, and there are fewer than 10 specimens known. Unfortunately the preservation of this small reptile means that it is very difficult to interpret. However, thanks to the wonders of modern technology and CT scanning, new evidence from Scleromochlus reveals new anatomical insights, and further supports Scleromochlus as a lagerpetid, the group most closely related to pterosaurs. In this episode we discuss these new discoveries with the lead author of the study Dr Davide Foffa who is currently a postdoctoral fellow at Virginia Tech, though this work was part of his previous position at the National Museum of Scotland (NMS). This is part of a larger project looking at the Late Triassic 'Elgin Fauna' along with collaborators Richard Butler (University of Birmingham), Stig Walsh and Nick Fraser (NMS), Steve Brusatte (University of Edinbu