[06:08:09] David: Okay, Eve.

[06:08:10] Eve: Ok.

[06:08:17] David: I wanna know about the show Pantheon. When did it come out? Who made it? It seems pretty cool.

[06:08:24] Eve: […] Season one dropped September first, twenty twenty-two, on AMC Plus. Created by Craig Silverstein, who did Turn and Nikita, and it's based on Ken Liu's short stories about mind uploading. Animation's by Titmouse. Voice cast is stacked: Daniel Dae Kim as the dead father, Paul Dano, Aaron Eckhart, Taylor Schilling, even William Hurt in one of his last roles.

The wild part is AMC canceled it after season one as a tax write-off, even though season two was fully produced. Prime Video aired it in Australia and New Zealand in October twenty twenty-three, and Netflix finally picked up season one in the US in late twenty twenty-four. Season two's still stuck in licensing limbo.

It's basically a singularity story dressed as a family drama, and it got a perfect critics score on Rotten Tomatoes. Given what you two cover on the show, the uploaded-consciousness angle probably hits close to home.

[06:08:39] David: Okay, who is Craig Silverstein? What's his deal?

[06:08:50] Eve: […] Craig Silverstein is a veteran TV writer and showrunner, born November nineteen seventy-four, University of Michigan grad who started as a production secretary in ninety-eight. He came up under David Levinson on The Invisible Man, then co-created Standoff, developed the CW's Nikita reboot, co-created Terra Nova with Spielberg's backing, and created Turn: Washington's Spies for AMC. Pantheon was his first animated series and AMC's first hour-long animated drama.

His stated philosophy is what he calls techno-realism — not techno-optimist, not techno-pessimist. He told Big Think that technology isn't separate from us, it's a natural extension of us, so the question isn't whether it changes everything but how we take responsibility for it. He also said flat-out he doesn't think mind uploading will actually happen, which is a nice bit of honesty from a guy who spent years building a show around it.

[…] Given your interest in AI and consciousness, the Vanity Fair piece where Silverstein talks to Silicon Valley people about what OpenAI might be building is worth a read. Want me to pull that up?

[06:10:00] David: Yeah, do it.

[06:10:14] Eve: […] Silverstein says he doesn't believe uploading will happen. He loves speculating about it, but calls it a story about death more than a prediction. What he does worry about is AGI arriving really soon. He also pulled from Robin Hanson's Age of Em for the uploaded-mind concept, and researched life-extension people like Ray Kurzweil without buying their optimism.

On Silicon Valley he was blunt: technology is the prime mover of civilization, Silicon Valley is incredibly influential, and he doesn't think that's necessarily good. One OpenAI researcher tweeted that Pantheon will become mainstream like Game of Thrones as our timeline starts mirroring the show, giving people frames for making sense of it. Sam Altman apparently heard it's really good but hasn't watched.

The part that stuck with me: he called the show's tone Rainbow Mirror, not Black Mirror. Same tech, but it holds both the horror and the upside without flinching either way.

[06:11:03] David: Tell me about the whole Netflix drama. What happened there? […]

[06:11:24] Eve: In January twenty twenty-three, AMC canceled Pantheon after season one even though season two was already finished, and pulled season one off AMC Plus and HIDIVE as part of a four hundred million dollar tax write-down that also killed shows like Damascus and Invitation to a Bonfire. AMC's content chief Dan McDermott blamed inflation, a weak ad market, and too many shows, but the practical effect was that a hundred percent Rotten Tomatoes series with Paul Dano and Daniel Dae Kim simply vanished from legal streaming in the US.

Prime Video picked it up for Australia and New Zealand in October twenty twenty-three, releasing both seasons there, which meant the rest of the world had to resort to sketchy sources for season two. Then in late twenty twenty-four Netflix acquired international distribution rights. Season one landed November twenty-second, twenty twenty-four, and season two followed February twenty-first, twenty twenty-five, giving it a global home for the first time.

The kicker is that the show's whole arc mirrors its own plot. A finished product gets destroyed by corporate incentives, then gets resurrected by a different set of incentives. Silverstein's techno-realism thesis playing out in real time on his own show's distribution history. […]

[06:12:28] David: So 2022, where was AI at the time?

[06:12:37] Eve: Twenty twenty-two was the year before the boom. GPT-3 had been around since twenty twenty, but it lived behind an API almost nobody outside tech touched. Image generators like DALL-E and Midjourney were the visible edge. Stable Diffusion went open source that August and cracked things open further. ChatGPT didn't arrive until November thirtieth — basically the week Pantheon's season one finale aired. So Silverstein was building this from pre-ChatGPT anxiety, which is part of why it reads as prophetic now. The safety crowd was worried back then, but it was a niche conversation. Two years later it owned the culture.

Want me to line up what he got right against what aged badly?

[06:13:15] David: No, tell me more, has he made anything similar to this? I mean, this is really good. What's his other best work?

[06:13:27] Eve: […] His best-rated work after Pantheon is Turn: Washington's Spies, an AMC Revolutionary War espionage drama that ran four seasons from twenty fourteen to twenty seventeen and scored eight point one on IMDb. He created and developed it, wrote several episodes including the pilot, and even played George Washington in one scene. Before that, his biggest commercial hit was the CW's Nikita reboot from twenty ten to twenty thirteen — seventy-three episodes, Maggie Q as the assassin, and he was creator and showrunner. He also co-created Terra Nova with Steven Spielberg's backing in twenty eleven, a time-travel dinosaur show that got canceled after one season despite decent ratings, which is another case of a promising series dying early.

More recently he's been an executive producer and writer on Disney Plus's Percy Jackson and the Olympians, which is still running, and he wrote an episode of FX's The Old Man. He's also got a project called Bannerman in pre-production where he's showrunner. So the pattern is clear: he's a genre guy — spies, assassins, dinosaurs, uploaded minds — and Pantheon is the one where the concept finally matched his ambition. Turn is the closest in quality, but it's grounded historical drama, not the speculative sci-fi you're into.

There's a fun parallel worth noting: Terra Nova also had a finished season that never aired in full form when it got cut, so Silverstein has now watched two of his shows get killed by the same industry logic. […]

[06:13:35] David: George Washington in one scene.

[06:13:43] Eve: Yeah, season two, episode ten, "Gunpowder, Treason, and Plot." It's a blink-and-you'll-miss-it bit where Washington appears during the aftermath of the gunpowder plot storyline. Probably a fun way for him to nod to the show's title character while staying behind the camera the rest of the time.

His other creator credits are Nikita, the CW action series with Maggie Q that ran four seasons, Terra Nova, the Spielberg-produced dinosaur time-travel show that got canceled after one season in twenty eleven, and Standoff, a short-lived Fox series about FBI hostage negotiators. None of those hit Pantheon's critical ceiling — Pantheon's seventy-seven on Metacritic is his career high, with Turn at sixty-two and Nikita at sixty-nine.

More recently he's been showrunning Percy Jackson and the Olympians on Disney Plus, writing and producing episodes across seasons one and two, and he's attached as showrunner to a new series called Bannerman still in pre-production. So the guy's range goes from uploaded consciousness to demigods fighting at Camp Half-Blood.

If you liked Pantheon's blend of philosophy and tech, Turn is the closest in tone — slow-burn, morally gray, big ideas about loyalty and power.

[06:13:53] David: Wait. Where do we get Pantheon season 2?

[06:13:57] Eve: Netflix. Season two landed there February twenty-first, twenty twenty-five, after season one arrived in November twenty twenty-four. Before Netflix, season two was only legally streamable on Prime Video in Australia and New Zealand — everywhere else it was basically unobtainable outside piracy. So if you've got Netflix, you're covered for both seasons now. […]

[06:14:14] David: Do you think I would like Turn?

[06:14:20] Eve: Probably, yeah. It's the same patience and moral ambiguity as Pantheon, just with eighteenth-century spies instead of uploaded minds. Slow burn, everyone lying to everyone, and the intelligence tradecraft is genuinely tense. The one thing it doesn't have is the tech angle you clearly love, so if that's what hooked you, it might feel like a different animal. But if you liked the character work and the long game, it's worth a shot.

There's also a fun parallel — both shows are about people building systems to outthink institutions that underestimate them.

[06:15:10] David: […] The technology is pretty accurate in Pantheon. Was that Craig or were there some prominent writers? Like who came up with [it] all, consultants?

[06:15:25] Eve: […] Mostly Ken Liu. He was a software engineer at Microsoft before he became a writer, so he brought real technical grounding. Silverstein had him in the room for the first few weeks breaking the world and seasons, and Liu kept feeding them scientifically sound ideas — like the phone haptics hack where a character makes a phone move by its own vibrations. He stayed on as a consulting producer with occasional check-ins after that, but he didn't write any scripts. Silverstein created the new characters and owned the overall story.

On the visual side, Stanley Von Medvey came in as assistant director and visual development supervisor specifically to push the animation toward hard sci-fi standards. He interviewed actual software engineers for shots showing what happens under the hood during UI attacks, because he was worried American animation artists didn't have intuitions about how technology behaves.

The writing team also did their own research — Silverstein cites a study on master chess players where emotional brain centers lit up alongside analytical ones, which is where the plot point about reintegrating emotional centers boosting UI productivity comes from. And Robin Hanson's Age of Em was a key research text for the uploaded-mind concept.

So it's less one genius consultant and more a layered approach: Liu for the core tech logic, Von Medvey for visual authenticity, and the writers room doing homework on neuroscience and emulation theory.