In the last few years I have settled on what I can't help but feel is the inarguably most elegant way to resolve time travel when used as a plot device, particularly in regards to in-story concerns over "temporal paradoxes". These ideas synthesize descriptions seen in works like Greg Benford's Timescape and the film Primer, which, as I think their
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If many-worlds isn't true, than yeah, my method is way too expensive to pull off as written. :)
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An element that they emphasize in the new series, though it was arguably present to some degree in the old one, is that some things about history are OK to change and some aren't, and attempts to mess with the latter category cause poorly-defined cataclysms, ranging from flying monsters eating the universe to history collapsing into a surreal mess in which everything happens at the same time and the calendar date never changes.
The difference between the two kinds of event is only Time Lords understand shut up.
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The underlying assumption here is that the you, as observer of the "original" timeline, continue to exist with your original memories/experiences of the world around you intact. It's possible to imagine sensible (*) rewriting regimes in which, if the timeline gets rewritten, you're just gone, just as if you were flash-incinerated by a nuclear bomb; barring metaphysical life-after-death wankery, there's no you there to ever know the difference.
One of the key points of the Schroedinger's Cat scenario that everybody seems to miss is that the box is never actually opened. If at any point you ever open the box, all that means is that the boundary conditions were not what we thought they were (**), the solutions ( ... )
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