WEBVTT 00:00:00.000 --> 00:00:03.040 Welcome to the Deep Dive. We are so glad you're 00:00:03.040 --> 00:00:04.679 here with us today. Yeah, thanks for joining 00:00:04.679 --> 00:00:06.719 us. Usually when we sit down to do one of these, 00:00:06.780 --> 00:00:10.880 we're staring at a massive stack of dense academic 00:00:10.880 --> 00:00:13.640 articles. Heavily footnoted scientific studies. 00:00:13.839 --> 00:00:17.120 Right, or sweeping historical biographies. But 00:00:17.120 --> 00:00:20.800 today, we're taking a completely different approach. 00:00:21.239 --> 00:00:23.780 Our source material isn't a book or a journal. 00:00:24.429 --> 00:00:27.149 It's well, it's a single Wikipedia disambiguation 00:00:27.149 --> 00:00:30.030 page. Which sounds incredibly mundane on the 00:00:30.030 --> 00:00:32.570 surface. I mean, disambiguation page is literally 00:00:32.570 --> 00:00:35.090 just an index. Yeah, exactly. It's that purely 00:00:35.090 --> 00:00:37.270 functional page you land on when you search for 00:00:37.270 --> 00:00:39.909 a term that has a dozen different meanings. And 00:00:39.909 --> 00:00:42.310 the site has to act as a traffic cop asking you, 00:00:42.390 --> 00:00:43.829 you know, which one of these did you actually 00:00:43.829 --> 00:00:46.049 mean? Right. It's just a list of links meant 00:00:46.049 --> 00:00:47.969 to be clicked away from as quickly as possible. 00:00:48.049 --> 00:00:51.590 But we are exploring a very specific disambiguation 00:00:51.590 --> 00:00:55.200 page for a simple three. phrase no way out just 00:00:55.200 --> 00:00:58.479 three words just three words and our mission 00:00:58.479 --> 00:01:01.340 today is to show you how looking closely at this 00:01:01.340 --> 00:01:04.879 one index acts as a perfect shortcut to understanding 00:01:04.879 --> 00:01:08.590 a a massive cultural footprint. We're going to 00:01:08.590 --> 00:01:11.489 look at how a single, highly dramatic concept, 00:01:11.689 --> 00:01:14.750 the feeling of complete entrapment, has permeated 00:01:14.750 --> 00:01:17.590 more than 70 years of global pop culture. Spanning 00:01:17.590 --> 00:01:20.650 music, literature, television, you name it. Exactly. 00:01:20.650 --> 00:01:22.810 Which really validates the entire concept of 00:01:22.810 --> 00:01:24.750 what we try to do here. Yeah. These pages are 00:01:24.750 --> 00:01:26.950 designed to be navigational tools, sure. But 00:01:26.950 --> 00:01:28.709 if we sit down and actually read the list from 00:01:28.709 --> 00:01:31.129 top to bottom, they accidentally become fascinating 00:01:31.129 --> 00:01:33.670 cultural mirrors. Yeah. They strip away all the 00:01:33.670 --> 00:01:35.689 marketing and the genre labels and show us... 00:01:35.760 --> 00:01:38.000 exactly what core human themes we keep coming 00:01:38.000 --> 00:01:40.700 back to decade after decade. Right. OK, let's 00:01:40.700 --> 00:01:42.780 unpack this by starting with the very first category 00:01:42.780 --> 00:01:45.400 from our source page, film and television. When 00:01:45.400 --> 00:01:47.439 you look at the chronological sweep of this phrase 00:01:47.439 --> 00:01:51.099 on the silver screen, it provides a really fascinating 00:01:51.099 --> 00:01:53.879 timeline of Hollywood history. It serves as a 00:01:53.879 --> 00:01:56.500 map of how enduring this specific type of conflict 00:01:56.500 --> 00:01:58.780 is for audiences. I mean, the phrase itself promises 00:01:58.780 --> 00:02:01.620 immediate stakes. It really does. The list starts 00:02:01.620 --> 00:02:04.319 way back in 1950 with a film starring Richard 00:02:04.319 --> 00:02:07.379 Widmark and Sidney Poitier. Wow, 1950. Yeah. 00:02:07.659 --> 00:02:10.000 And if we think about the cultural context of 00:02:10.000 --> 00:02:12.780 1950, especially with an actor like Sidney Poitier, 00:02:12.919 --> 00:02:15.759 we're looking at a post -war era dealing with 00:02:15.759 --> 00:02:18.860 intense social and racial tensions. Absolutely. 00:02:19.060 --> 00:02:21.860 A title like No Way Out? in that era carries 00:02:21.860 --> 00:02:24.479 a very specific heavy social weight right but 00:02:24.479 --> 00:02:27.659 then you scroll down the timeline to 1973 and 00:02:27.659 --> 00:02:30.039 we see another film sharing the exact same title 00:02:30.039 --> 00:02:32.800 this one starring elaine delon and richard conti 00:02:32.800 --> 00:02:36.139 which moves us firmly into the gritty paranoid 00:02:36.139 --> 00:02:40.240 era of 1970s cinema so the focus shifts from 00:02:40.240 --> 00:02:43.379 social entrapment to perhaps you know criminal 00:02:43.379 --> 00:02:45.500 or political entrapment and that paranoia only 00:02:45.500 --> 00:02:47.759 escalates because we jump forward again to a 00:02:47.759 --> 00:02:50.830 1987 film starring kevin costner And Gene Hackman. 00:02:50.889 --> 00:02:52.770 Oh, classic. Yeah, that one's a classic Cold 00:02:52.770 --> 00:02:54.990 War era thriller set inside the Pentagon. So 00:02:54.990 --> 00:02:57.349 we have three completely different eras of cinema 00:02:57.349 --> 00:02:59.870 spanning nearly 40 years, all anchoring their 00:02:59.870 --> 00:03:02.229 stories to those same three words. The caliber 00:03:02.229 --> 00:03:04.270 of the actors involved in those early decades 00:03:04.270 --> 00:03:07.590 is really telling, too. Sidney Poitier, Gene 00:03:07.590 --> 00:03:10.629 Hackman, Kevin Costner. These are heavyweights 00:03:10.629 --> 00:03:13.789 of cinema starring in major prestige dramatic 00:03:13.789 --> 00:03:17.210 works. Right. In these contexts, having no way 00:03:17.210 --> 00:03:20.740 out. is a sophisticated psychological puzzle 00:03:20.740 --> 00:03:23.439 for the protagonist to solve. Did it keep that 00:03:23.439 --> 00:03:25.020 prestige, though? Because when I look further 00:03:25.020 --> 00:03:27.740 down the timeline on this Wikipedia page, the 00:03:27.740 --> 00:03:30.580 cast lists start to look drastically different. 00:03:30.680 --> 00:03:33.120 The gravity seems to shift into entirely different 00:03:33.120 --> 00:03:35.419 territories. It definitely shifts. For instance, 00:03:35.560 --> 00:03:37.620 there's a much more recent film listed starring 00:03:37.620 --> 00:03:40.300 Hector Echavarria, Estella Warren, and Danny 00:03:40.300 --> 00:03:43.400 Trejo. Now, seeing Danny Trejo's name attached 00:03:43.400 --> 00:03:45.599 to a movie called No Way Out paints a very different 00:03:45.599 --> 00:03:48.319 picture than Gene Hackman. It marks a clear transition 00:03:48.319 --> 00:03:51.300 from prestige psychological thriller to the realm 00:03:51.300 --> 00:03:54.000 of direct -to -video action or B -movies. And 00:03:54.000 --> 00:03:56.080 that makes perfect sense from a marketing standpoint. 00:03:56.379 --> 00:03:59.219 Well, if you're producing an action film, No 00:03:59.219 --> 00:04:02.800 Way Out is the ultimate cinematic promise. You 00:04:02.800 --> 00:04:05.659 see that title on a DVD cover, and you instantly 00:04:05.659 --> 00:04:08.379 know you're getting explosions, a ticking clock, 00:04:08.560 --> 00:04:11.280 and a protagonist. back into a literal corner 00:04:11.280 --> 00:04:14.080 yeah the page even lists another film entirely 00:04:14.080 --> 00:04:17.259 starring kieran lee taking the phrase into the 00:04:17.259 --> 00:04:20.519 adult film industry the sheer variety of productions 00:04:20.519 --> 00:04:22.740 that have laid claim to this title is staggering 00:04:22.740 --> 00:04:25.579 it goes from oscar winners to midnight action 00:04:25.579 --> 00:04:28.120 flicks it speaks to the universal utility of 00:04:28.120 --> 00:04:29.939 the phrase you don't need to read a synopsis 00:04:29.939 --> 00:04:32.360 to understand the stakes and television writers 00:04:32.360 --> 00:04:34.899 seem to rely on that exact same utility when 00:04:34.899 --> 00:04:36.720 we look at the television tropes represented 00:04:36.720 --> 00:04:39.139 on this page the wide variety of shows that have 00:04:39.269 --> 00:04:41.490 No Way Out as an episode title is incredibly 00:04:41.490 --> 00:04:44.189 diverse. Very diverse. The source starts this 00:04:44.189 --> 00:04:47.170 section with a 1975 episode of a show called 00:04:47.170 --> 00:04:49.449 Porridge. Which is a brilliant starting point 00:04:49.449 --> 00:04:51.509 because Porridge is a classic British sitcom 00:04:51.509 --> 00:04:54.970 set entirely inside a literal prison. So in that 00:04:54.970 --> 00:04:57.170 case, the title is a very literal geographical 00:04:57.170 --> 00:04:59.970 joke about being locked behind bars. But then 00:04:59.970 --> 00:05:03.269 we jump from a 1970s British comedy to a 2009 00:05:03.269 --> 00:05:06.490 episode of CSI crime scene investigation. What's 00:05:06.490 --> 00:05:08.509 fascinating here is how the definition of the 00:05:08.509 --> 00:05:12.509 trap changes. In a crime procedural like CSI, 00:05:12.569 --> 00:05:15.569 no way out likely doesn't refer to the heroes. 00:05:15.610 --> 00:05:17.910 It refers to the suspect. Right. The net closing 00:05:17.910 --> 00:05:20.670 in. Exactly. The investigators have closed the 00:05:20.670 --> 00:05:23.149 net. The forensic evidence is overwhelming and 00:05:23.149 --> 00:05:25.290 the perpetrator is boxed in by the truth. The 00:05:25.290 --> 00:05:27.750 entrapment is intellectual and legal. Then you 00:05:27.750 --> 00:05:30.310 scroll down a bit further and hit a 2014 episode 00:05:30.310 --> 00:05:32.029 of Highway Through Hell. For anyone unfamiliar, 00:05:32.350 --> 00:05:35.209 that's a documentary series following heavy rescue 00:05:35.209 --> 00:05:38.410 towing crews working in extreme freezing environments. 00:05:38.790 --> 00:05:41.329 So we pivot from legal entrapment to physical 00:05:41.329 --> 00:05:44.029 environmental entrapment. In that context, No 00:05:44.029 --> 00:05:47.230 Way Out is a multi -ton truck stuck on an icy 00:05:47.230 --> 00:05:49.720 mountain pass. It is man versus nature in the 00:05:49.720 --> 00:05:51.860 most tactile, freezing way possible. And just 00:05:51.860 --> 00:05:53.939 to completely round out the genres, the final 00:05:53.939 --> 00:05:56.620 TV episode listed is from 2016 for The Walking 00:05:56.620 --> 00:05:59.139 Dead. Apocalyptic survival. In that context, 00:05:59.319 --> 00:06:01.879 the phrase shifts yet again into existential 00:06:01.879 --> 00:06:05.220 dread. The characters are surrounded by an overwhelming, 00:06:05.439 --> 00:06:07.899 relentless threat where the physical boundaries 00:06:07.899 --> 00:06:10.160 of the world are quite literally closing in on 00:06:10.160 --> 00:06:12.939 them to eat them. You have four different shows. 00:06:13.279 --> 00:06:16.579 A prison comedy. a forensic procedural, a reality 00:06:16.579 --> 00:06:20.100 documentary, and a zombie apocalypse, all utilizing 00:06:20.100 --> 00:06:23.220 the exact same psychological trigger for their 00:06:23.220 --> 00:06:25.620 audience. It really is the ultimate Swiss Army 00:06:25.620 --> 00:06:27.839 knife of episode titles. You can deploy it anywhere. 00:06:28.220 --> 00:06:30.319 Which actually leads us right into the next section 00:06:30.319 --> 00:06:33.339 of our source text. literature. And the contrast 00:06:33.339 --> 00:06:35.699 we see in the book section might be the starkest 00:06:35.699 --> 00:06:38.240 on the entire page. It is quite a literary whiplash. 00:06:38.360 --> 00:06:40.720 It is. On the highbrow end of the spectrum, the 00:06:40.720 --> 00:06:43.519 page notes that No Way Out is the title of a 00:06:43.519 --> 00:06:46.279 novel by the 19th century Russian writer Nikolai 00:06:46.279 --> 00:06:49.699 Leskov. Okay. And even more notably, it's listed 00:06:49.699 --> 00:06:52.339 as an alternative title for Jean -Paul Sartre's 00:06:52.339 --> 00:06:54.439 famous play, which is most commonly known in 00:06:54.439 --> 00:06:56.639 English as No Exit. Which is a perfect linguistic 00:06:56.639 --> 00:06:58.899 translation of the theme. Sartre is essentially 00:06:58.899 --> 00:07:01.629 the godfather of 20th century existential dread. 00:07:01.790 --> 00:07:04.509 The entire premise of that specific play revolves 00:07:04.509 --> 00:07:07.290 around three deceased characters who are locked 00:07:07.290 --> 00:07:09.730 in a single, sparsely furnished room together 00:07:09.730 --> 00:07:12.269 for eternity. The famous hell is other people 00:07:12.269 --> 00:07:15.629 concept. Precisely. They are trapped by their 00:07:15.629 --> 00:07:18.709 own past life choices and by the unbearable judging 00:07:18.709 --> 00:07:21.449 gaze of the other people in the room. So using 00:07:21.449 --> 00:07:24.350 No Way Out as the title is a very on -the -nose 00:07:24.350 --> 00:07:27.240 summary of French existential philosophy. The 00:07:27.240 --> 00:07:29.500 Entrapment is entirely philosophical and psychological. 00:07:29.939 --> 00:07:32.019 But then, right below Jean -Paul Sartre on this 00:07:32.019 --> 00:07:34.560 list, we get a massive pivot to youth fiction. 00:07:34.800 --> 00:07:38.100 Oh boy. The text lists a classic Hardy Boys novel 00:07:38.100 --> 00:07:41.199 called No Way Out. And a book in the Bluford 00:07:41.199 --> 00:07:43.620 series by Peggy Kern, which is a popular young 00:07:43.620 --> 00:07:46.480 adult series set in an urban high school. You 00:07:46.480 --> 00:07:48.959 go from the crushing weight of existentialism 00:07:48.959 --> 00:07:51.800 straight to teenage detectives and high school 00:07:51.800 --> 00:07:54.220 drama. If we connect this to the bigger picture, 00:07:54.379 --> 00:07:57.079 it highlights how the concept of having no way 00:07:57.079 --> 00:08:00.750 out isn't just an adult intellectual fear. It 00:08:00.750 --> 00:08:03.589 is a fundamental universal human anxiety that 00:08:03.589 --> 00:08:06.370 starts very early in life. It serves as an incredibly 00:08:06.370 --> 00:08:08.829 effective thematic anchor, regardless of your 00:08:08.829 --> 00:08:11.170 target demographic. So the psychological mechanism 00:08:11.170 --> 00:08:14.430 is identical, even if the dressing changes. Exactly. 00:08:14.430 --> 00:08:17.550 The Hardy Boys might be physically cornered by 00:08:17.550 --> 00:08:20.750 a smuggler in a seaside cave, while Sartre's 00:08:20.750 --> 00:08:22.550 characters are cornered by the philosophical 00:08:22.550 --> 00:08:25.839 burden of free will. And a character in the Bluford 00:08:25.839 --> 00:08:28.920 series might feel trapped by peer pressure or 00:08:28.920 --> 00:08:32.399 socioeconomic struggles. The fear of being cornered 00:08:32.399 --> 00:08:34.980 translates perfectly across all those audiences. 00:08:35.710 --> 00:08:37.970 I love that we can extract that kind of sociological 00:08:37.970 --> 00:08:40.110 connection from looking at a bulleted list of 00:08:40.110 --> 00:08:42.549 four books. But if the literature section feels 00:08:42.549 --> 00:08:44.529 diverse, we have to talk about the soundtrack 00:08:44.529 --> 00:08:47.169 of Entrapment. Let's do it. Because music is 00:08:47.169 --> 00:08:49.789 by far the largest category on this entire Wikipedia 00:08:49.789 --> 00:08:52.990 page. Musicians clearly have an obsession with 00:08:52.990 --> 00:08:55.570 this phrase. It dominates the index. And it makes 00:08:55.570 --> 00:08:57.809 sense given that music is the primary medium 00:08:57.809 --> 00:09:00.740 we use to process intense emotion. The source 00:09:00.740 --> 00:09:03.159 first outlines the albums that use the title, 00:09:03.220 --> 00:09:05.379 and right away we get a huge span of time. We 00:09:05.379 --> 00:09:08.340 have a 1967 album by a psychedelic rock band 00:09:08.340 --> 00:09:10.740 called the Chocolate Watch Band. Classic 60s 00:09:10.740 --> 00:09:14.580 era. Yeah. Then, jumping exactly 30 years into 00:09:14.580 --> 00:09:17.519 the future, we hit Puff Daddy's massive 1997 00:09:17.519 --> 00:09:20.539 hip -hop album. And if you scroll down to the 00:09:20.539 --> 00:09:22.399 See Also section at the bottom of the page, it 00:09:22.399 --> 00:09:24.480 points out that 20 years after that, in 2017, 00:09:24.899 --> 00:09:27.460 Puff Daddy released a sequel album called No 00:09:27.460 --> 00:09:30.289 Way Out 2. That's a huge timeline. And there 00:09:30.289 --> 00:09:32.690 is even a band whose entire moniker incorporates 00:09:32.690 --> 00:09:35.909 the phrase My American Heart or No Way Out. Just 00:09:35.909 --> 00:09:38.450 those album titles alone chart a half century 00:09:38.450 --> 00:09:42.190 of musical history, moving from 1960s counterculture 00:09:42.190 --> 00:09:44.909 straight through to the absolute dominance of 00:09:44.909 --> 00:09:47.409 1990s hip hop. Here's where it gets really interesting. 00:09:47.509 --> 00:09:50.190 The song list. Instead of just reading off every 00:09:50.190 --> 00:09:52.230 single band, let's look at how these artists 00:09:52.230 --> 00:09:54.149 group together because the genre whiplash is 00:09:54.149 --> 00:09:56.409 intense. Okay. If you scan the rock and metal 00:09:56.409 --> 00:09:58.610 section, it's just a wall of heavy hitters. You 00:09:58.610 --> 00:10:00.490 have bands like Annihilator from their album 00:10:00.490 --> 00:10:03.570 Feast, Bullet for My Valentine, Dope from the 00:10:03.570 --> 00:10:06.210 album American Apathy. Loudness from Thunder 00:10:06.210 --> 00:10:08.889 in the East. Yes, the Screaming Jets from Scam, 00:10:09.049 --> 00:10:11.490 Stone Temple Pilots from Number Four, Theory 00:10:11.490 --> 00:10:14.070 of a Dead Man from Gasoline, and The Word Alive 00:10:14.070 --> 00:10:16.309 from Monomania. When you look at that specific 00:10:16.309 --> 00:10:19.029 grouping, You can instantly hear the sonic texture. 00:10:19.509 --> 00:10:22.129 Heavy metal and hard rock are genres built on 00:10:22.129 --> 00:10:25.250 aggression and angst. In that context, No Way 00:10:25.250 --> 00:10:28.009 Out is a literal scream of frustration. Yeah, 00:10:28.129 --> 00:10:30.470 that makes sense. It is a rebellion against being 00:10:30.470 --> 00:10:33.230 boxed in by society, by authority figures, or 00:10:33.230 --> 00:10:35.909 by personal demons. The guitars and the vocals 00:10:35.909 --> 00:10:37.710 are designed to sound like someone trying to 00:10:37.710 --> 00:10:40.090 break through a wall. But then the page pivots 00:10:40.090 --> 00:10:42.330 entirely to classic rock and pop acts, and the 00:10:42.330 --> 00:10:45.620 tone shifts completely. We see tracks by Electric 00:10:45.620 --> 00:10:48.679 Light Orchestra from their album Afterglow, Jefferson's 00:10:48.679 --> 00:10:51.399 Starship from Nuclear Furniture, Missing Persons 00:10:51.399 --> 00:10:53.940 from Spring Session M, and Peter Gabriel from 00:10:53.940 --> 00:10:56.500 Up. Which represents a completely different emotional 00:10:56.500 --> 00:10:59.759 frequency. ELO and Peter Gabriel aren't usually 00:10:59.759 --> 00:11:02.299 screaming in frustration. Their use of the phrase 00:11:02.299 --> 00:11:04.440 is likely much more melancholic and atmospheric. 00:11:04.700 --> 00:11:06.899 Right. In pop and classic rock, feeling like 00:11:06.899 --> 00:11:09.740 there is no way out is often about the inescapable 00:11:09.740 --> 00:11:12.919 nature of a failing romantic relationship or 00:11:12.919 --> 00:11:15.309 the quiet desperation. of getting older is a 00:11:15.309 --> 00:11:18.029 softer, sadder kind of trap. The list keeps going 00:11:18.029 --> 00:11:20.389 into hip -hop, which brings an entirely different 00:11:20.389 --> 00:11:23.309 reality to the phrase. We have Bone Thugs in 00:11:23.309 --> 00:11:26.350 Harmony with a track on their album BTNH Resurrection, 00:11:26.570 --> 00:11:29.370 and we also have the Bloods and Crips, who released 00:11:29.370 --> 00:11:32.169 a collaborative track on their famous 1990s project 00:11:32.169 --> 00:11:34.889 Bangin' on Wax. In hip -hop, especially looking 00:11:34.889 --> 00:11:37.470 at a project like Bangin' on Wax, which was deeply 00:11:37.470 --> 00:11:39.909 rooted in the harsh realities of gang life in 00:11:39.909 --> 00:11:43.269 Los Angeles, the phrase takes on a systemic meaning. 00:11:43.610 --> 00:11:45.669 It's a completely different context. It isn't 00:11:45.669 --> 00:11:48.289 a metaphor for a bad breakup. It's about the 00:11:48.289 --> 00:11:51.250 socioeconomic realities of feeling geographically 00:11:51.250 --> 00:11:53.889 and financially trapped in a specific environment 00:11:53.889 --> 00:11:57.529 with very few options for escape or upward mobility. 00:11:57.809 --> 00:12:00.049 Which is why the outliers on this list are so 00:12:00.049 --> 00:12:02.509 jarring to read, because sitting right next to 00:12:02.509 --> 00:12:04.769 the Bloods and Crips on this Wikipedia page is 00:12:04.769 --> 00:12:07.289 a song by Phil Collins. The juxtaposition is 00:12:07.289 --> 00:12:09.190 almost absurd when you see it in a sterilist 00:12:09.190 --> 00:12:11.879 format. It really is. Phil Collins contributed 00:12:11.879 --> 00:12:14.500 a song called No Way Out to the soundtrack for 00:12:14.500 --> 00:12:16.919 the Disney animated movie Brother Bear. And just 00:12:16.919 --> 00:12:19.259 a few lines down from that, there is a song by 00:12:19.259 --> 00:12:22.080 DJ Trevi representing the electronic dance music 00:12:22.080 --> 00:12:24.519 scene. This raises an important question for 00:12:24.519 --> 00:12:27.500 you as the listener. Why does a single three 00:12:27.500 --> 00:12:30.379 -word phrase translate seamlessly across rap, 00:12:30.559 --> 00:12:33.279 heavy metal, electronic dance music, and mainstream 00:12:33.279 --> 00:12:37.000 pop? How can Phil Collins write a song for a 00:12:37.000 --> 00:12:39.179 heartwarming Disney movie about a boy turning 00:12:39.179 --> 00:12:42.159 into a bear and share the exact same title as 00:12:42.159 --> 00:12:44.740 a track by Los Angeles street gangs? Because 00:12:44.740 --> 00:12:47.500 the feeling of being trapped doesn't belong to 00:12:47.500 --> 00:12:49.620 any one demographic. It just adapts to whatever 00:12:49.620 --> 00:12:51.639 instruments are playing. That is the core of 00:12:51.639 --> 00:12:54.299 it. The feeling of having new options is one 00:12:54.299 --> 00:12:56.639 of the most potent, universally understood emotions 00:12:56.639 --> 00:13:00.019 a human being can experience. Yeah. For the metal 00:13:00.019 --> 00:13:02.539 band, the trap makes them furious. For the pop 00:13:02.539 --> 00:13:05.470 singer. the trap makes them heartbroken. For 00:13:05.470 --> 00:13:07.090 the rapper, the trap is a literal neighborhood. 00:13:07.629 --> 00:13:10.409 For the Disney character, it is a moment of deep 00:13:10.409 --> 00:13:12.649 regret and feeling stuck in a bad situation. 00:13:13.309 --> 00:13:16.450 The words remain identical, but the instrumentation 00:13:16.450 --> 00:13:18.970 and the cultural context color the entrapment 00:13:18.970 --> 00:13:21.070 completely differently. Before we move on from 00:13:21.070 --> 00:13:23.789 the music section, there is a fascinating piece 00:13:23.789 --> 00:13:26.169 of trivia buried in the text that I have to bring 00:13:26.169 --> 00:13:30.019 up. The page lists a song called No Way Out by 00:13:30.019 --> 00:13:32.480 Pete Townsend, the legendary guitarist for The 00:13:32.480 --> 00:13:34.700 Who. Okay, I remember this. But it specifically 00:13:34.700 --> 00:13:37.279 notes that this track is actually a rework of 00:13:37.279 --> 00:13:39.940 an older song by The Who, which was originally 00:13:39.940 --> 00:13:42.700 titled However Much I Booze. Yeah, it is a brilliant 00:13:42.700 --> 00:13:45.840 detail to include on a disambiguation page. Yeah. 00:13:45.899 --> 00:13:47.759 Think about the psychological journey of that 00:13:47.759 --> 00:13:50.059 title change. It's heavy. Townsend took a song 00:13:50.059 --> 00:13:52.399 explicitly about turning to alcohol to cope, 00:13:52.519 --> 00:14:12.049 literally titled However Much I Booze. Wow. It 00:14:12.049 --> 00:14:14.909 is a profound realization hidden right there 00:14:14.909 --> 00:14:17.710 in a bullet point. And it brings us to our final 00:14:17.710 --> 00:14:21.149 and perhaps most literal category of this deep 00:14:21.149 --> 00:14:23.389 dive. We have talked about the philosophical 00:14:23.389 --> 00:14:26.309 entrapment in literature and the emotional entrapment 00:14:26.309 --> 00:14:29.509 in music. But under the other uses section of 00:14:29.509 --> 00:14:31.570 the source text, there is a very brief mention 00:14:31.570 --> 00:14:34.090 of physical spectacle. The professional wrestling 00:14:34.090 --> 00:14:37.990 entry. Yes. The source lists WWE No Way Out, 00:14:38.110 --> 00:14:40.350 which is an annual professional wrestling pay 00:14:40.350 --> 00:14:42.889 -per -view event series. It's a very brief mention, 00:14:43.049 --> 00:14:45.470 but it serves as the perfect capstone to our 00:14:45.470 --> 00:14:48.389 entire analysis. Professional wrestling is an 00:14:48.389 --> 00:14:51.190 art form entirely built on the concept of literalizing 00:14:51.190 --> 00:14:54.230 conflict. They take metaphorical struggles and 00:14:54.230 --> 00:14:57.190 turn them into physical, bloody spectacles. Subtlety 00:14:57.190 --> 00:14:59.669 is not really the goal there. Not at all. If 00:14:59.669 --> 00:15:01.690 a poet uses the phrase to describe the feeling 00:15:01.690 --> 00:15:04.389 of a broken heart and a philosopher uses it to 00:15:04.389 --> 00:15:07.350 describe the burden of existence, the WWE uses 00:15:07.350 --> 00:15:09.789 it to promise the audience a literal steel cage. 00:15:10.029 --> 00:15:12.610 They take the psychological anxiety of entrapment 00:15:12.610 --> 00:15:14.330 that we have been discussing this entire time 00:15:14.330 --> 00:15:16.330 across all these different mediums and they say, 00:15:16.389 --> 00:15:19.289 we have put two angry people inside a chain link 00:15:19.289 --> 00:15:22.250 fence and we have padlocked the door. It is the 00:15:22.250 --> 00:15:24.690 ultimate physical realization of the metaphor. 00:15:24.950 --> 00:15:28.120 So what does this all mean? We've covered a massive 00:15:28.120 --> 00:15:30.679 amount of ground today. We started with what 00:15:30.679 --> 00:15:33.220 is arguably the driest, most functional corner 00:15:33.220 --> 00:15:36.620 of the internet, a Wikipedia disambiguation page. 00:15:36.940 --> 00:15:39.179 The invigable traffic cop of the web. Exactly. 00:15:39.519 --> 00:15:42.059 It's a tool designed purely to help internet 00:15:42.059 --> 00:15:44.419 users find the right article and clear up search 00:15:44.419 --> 00:15:47.299 confusion. But by just reading the list, by really 00:15:47.299 --> 00:15:49.279 looking at what was gathered together under this 00:15:49.279 --> 00:15:51.980 one umbrella phrase, we uncovered a sprawling 00:15:51.980 --> 00:15:55.019 map of human drama. We charted a course from 00:15:55.019 --> 00:16:08.659 the post -war racial... And what I want you to 00:16:08.659 --> 00:16:10.480 take away from this is a sense of shared experience. 00:16:11.039 --> 00:16:12.820 The next time you feel stressed out, the next 00:16:12.820 --> 00:16:14.740 time you feel backed into a corner or trapped 00:16:14.740 --> 00:16:17.299 by your circumstances, or like there's just no 00:16:17.299 --> 00:16:19.259 way out of whatever situation you're currently 00:16:19.259 --> 00:16:22.639 in, I want you to take a strange sort of comfort. 00:16:23.279 --> 00:16:25.460 In that feeling. Because you aren't alone. Exactly. 00:16:25.740 --> 00:16:28.580 Because you share that exact specific emotion 00:16:28.580 --> 00:16:31.000 with Jean -Paul Sarch, Puff Daddy, the Hardy 00:16:31.000 --> 00:16:33.600 Boys, and a heavy rescue towing crew in the freezing 00:16:33.600 --> 00:16:36.299 mountains. You aren't alone in that stress. You 00:16:36.299 --> 00:16:39.480 are participating in a massive shared cultural 00:16:39.480 --> 00:16:42.159 tradition. That is a wonderful way to frame it. 00:16:42.409 --> 00:16:44.330 And it leaves us with a final thought to mull 00:16:44.330 --> 00:16:47.629 over. We treat databases, indexes, and disambiguation 00:16:47.629 --> 00:16:51.889 pages purely as cold, organized data. They're 00:16:51.889 --> 00:16:53.909 designed to be invisible architecture. Right. 00:16:54.049 --> 00:16:56.629 But completely by accident, they serve as incredible 00:16:56.629 --> 00:16:59.429 anthropological records of the human mind. They 00:16:59.429 --> 00:17:01.210 show us our collective obsessions laid bare. 00:17:01.450 --> 00:17:03.450 So the question I leave you to explore on your 00:17:03.450 --> 00:17:06.890 own is this. What other common everyday phrases 00:17:06.890 --> 00:17:09.529 have entirely hidden sprawling cultural lives 00:17:09.529 --> 00:17:12.150 of their own, just waiting to be discovered in 00:17:12.150 --> 00:17:14.650 a simple internet index? It really makes you 00:17:14.650 --> 00:17:18.490 want to go type random dramatic phrases into 00:17:18.490 --> 00:17:20.970 the search bar just to see what kind of bizarre 00:17:20.970 --> 00:17:23.329 cultural collisions come up, doesn't it? Thank 00:17:23.329 --> 00:17:24.950 you so much for joining us on this incredibly 00:17:24.950 --> 00:17:27.329 unique journey today. We will see you next time.