Dan was Ben Vaughn's sound-man and released his first solo album of Americana rock in 2004. We discuss "Busted" from his eighth album (produced by Vaughn), the just Dan-and-his guitar effort Dispatches from the Desert, then "Beaumont" from Cast-Iron Songs and Torch Ballads (2023), "Favorite Color" from Rosetta, Please (A Love Story) (2006). End song: "Lookin’ for a Fight" also from the new album. Intro: "Always" from Man from Out of State (2004). More at danmontgomery.bandcamp.com.

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We now have a free-form discussion in light of what was raised in part one about the Federalist Papers and Frederick Douglass' Fourth of July Speech: What should we do about the problems identified? Is the system broken beyond repair? Was it built with fatal flaws in it? Is it just working as normal, and the pendulum will inevitably swing away from madness as the system reasserts itself?

We then open it up for a Q&A, which gets us talking about property vs. liberty, the power of corporations, the moral basis of our government, and our outlook on the future.

Learn about Mark's fall philosophy of mind class at partiallyexaminedlife.com/class.

Enrollment is now open for our new online class.

Read more about it at partiallyexaminedlife.com/class, or go ahead and sign up via partiallyexaminedlife.com/enrollment.

AmirAli is a philosophy researcher in Iran who tries to make Islamic philosophy speak to and with the West. We hear about doing philosophy in the "Islamic Republic of Iran," life during wartime, the relationship between play and philosophy, Islamic philosophy in Arabic vs. Persian, Amanah ("sacred trust"), philosophy as empathy, plus the Dream Police and fun with imperialism.

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We discuss the already over-discussed Christopher Nolan adaptation of Homer's classic poem. Mark, Lawrence, Sarahlyn and Al discuss their cinema-going experiences, Ludwig Göransson's soundtrack, choices re. the book-to-film transition, the various performances, the Emily Wilson connection, and more.

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To celebrate our nation's 250th birthday, we gathered in front of a lovely audience near Madison WI to discuss Federalist Papers 70, 78, 39, 54, 10 by Alexander Hamilton and James Madison from 1787-1788, Anti-Federalist Papers 78-80 (aka Brutus 11 and 15), and Frederick Douglass' Fourth of July Speech (1852).

Is the American experiment working out as planned? We talk about the Founders' arguments regarding the unitary executive, the independence of the judiciary, factionalism, the 3/5 compromise for representing slaves, and finally, whether slavery corrupted the whole thing.

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Learn about Mark's fall class at partiallyexaminedlife.com/class.

The news moves fast. Most of it passes by before we can get a full view. Pandemics, wars, and the economy demand our attention. Other considerations, like celebrity gossip and political operatives yelling from our screens, just don’t. That’s the media and social media landscape in pressing and trivial form. But what about the stuff in-between? We encounter arguments. We Continue Reading …

As a cinematic monster, the mummy seems less an embodiment of revenge against colonial forces than a figure invented by colonialism itself. On the one hand, the mummy represents mystery, romance, magic, and the East. His wrappings suggest to the imagination that he’s not just dead, but wounded—ripped from a lost time and a broken narrative. Conveniently for the colonizer’s psyche, the mummy actually longs for someone to violate his tomb and wake him—not least so that his curse can lay systematic waste to its victims. And that brings us to the other hand: the mummy as a scientific and historical artifact, an ancient puzzle which requires anthropological, archeological, and linguistic knowledge to solve. The very apparatus of the mummy’s tomb—his body locked in box upon box, his organs apportioned to canopic jars, hieroglyphic inscriptions on every surface—suggest the complexity of the undertaking. What might these two strands of the mummy’s DNA—in Shakespearean terms, part-Antony, part-Cleopatra—reveal about the relationship between colonizer and colonized, and about our own desires, fears, and guilt? Wes & Erin discuss the 1999 film, “The Mummy.”

With his roots in folk, Josh released three rock albums in the '90s before his big hit "Camera One," from Useful Music (2001), which is getting a Silver Anniversary rework/reissue. (The intro music for this episode is the new version.) He has released seven more albums since then.

We discuss "Goodbye Berlin" from GpYr (2025), "History of I Do" from Figure Drawing (2023), "Juniper" from Boxing Nostalgic (1997), and conclude by listening to "High, Low & Wide" from the self-titled album by his folk unit, Among the Oak & Ash (2008). More at joshjoplingroup.com.

Hear more Nakedly Examined Music at nakedlyexaminedmusic.com. Support us at patreon.com/nakedlyexaminedmusic.

Christopher Sunami, the editor of the 2024 Partially Examined Life book, is back with a brand-new work of original philosophy–emphasis on original. He describes it as if Plato’s Symposium was set in a secret Black fraternity, and if the topics on the table included race, religion, artificial intelligence and new ways forward out of the world’s many current existential crises. Continue Reading …

Continuing on "Questions Concerning Certain Faculties Claimed for Man" and "Some Consequences of Four Incapacities."

We talk about inference, the self, introspection, willing, the limits on what kinds of terms can have meaning, and more.

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Learn about Mark's Key Ideas in the Philosophy of Mind class at partiallyexaminedlife.com/class.

On "Realistic Monism: Why Physicalism Entails Panpsychism" (2008). Strawson argues that physicalism should not just be taken as matter in motion. Instead, the physical is a broader category that includes not just chairs and molecules, but also "my experience of red." Yet he's not trying to say that experiences are just brain states; they clearly include qualia (what it's like to experience red). And he's also not just trying to solve the problem by redefining "physical" to include "mental" (though he is doing that). Instead, he's claiming that we have no warrant to claim that the properties of the physical are exhausted by what third-person science can investigate, and that we can't solve the mind-body problem unless we posit that (at least some) physical objects have a mental aspect. Sounds like Spinoza to us! Read along with us.

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In light of Toy Story 5, the gang (Mark, Lawrence, Sarahlyn and Al) consider the Pixar franchise that started in 1995. We consider the premise whereby your toys are loyal slaves that come to life whenever unobserved, the critique of screen-play in the new film, the use of nostalgia in the films, the repetition and/or escalation throughout the series, the horror-adjacency of living dolls, the emotional manipulation, and whether enough is enough.

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The LA-based clown, multimedia performance artist, and doll stylist (see maddiemutations.com; she also goes by the name Maddie Forrest) joins Mary and Mark to talk about her Doll Court show, clown types and the role of the fool, failing on stage, cities as women, silly villains, and more. Will Carol overcome her anxiety to go into the big meeting? Will Continue Reading …

On 1868 essays by Charles Sanders Peirce: "Questions Concerning Certain Faculties Claimed for Man" and "Some Consequences of Four Incapacities."

Do we know when knowledge is intuitive? Is there any such thing as intuitive knowledge? Do we directly experience the self or anything introspective, or do we just infer facts about ourselves from external perspectives? Peirce provides counter-intuitive responses to all these questions.

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Bruce started as guitarist for the '90s for Vulgar Unicorn and started Pineapple Thief as a solo project in 1999, though it quickly became a full band. He's released 16 studio albums with Pineapple Thief and four solo albums. More at brucesoord.com and pineapplethief.com.

We discuss "Pillars" from Ghosts in the Park (his 2026 solo album) and some Pineapple Thief tracks: the title track from It Leads to This (2024), "Clapham" from 10 Stories Down (2005), remixed for 3000 Days (2008), plus to conclude "Alone at Sea" from Magnolia (2014). Intro: "Private Paradise" by from Abducted at Birth (1999, originally called Abducting the Unicorn).

Hear more Nakedly Examined Music at nakedlyexaminedmusic.com. Support us at patreon.com/nakedlyexaminedmusic, which will get you access to a bonus episode with Bruce from 2018.

June at PEL centered on questions of reason and human understanding, at least philosophically speaking. The month continued the extended engagement with Hegel while also branching into AI, Beckett, fantasy literature, and the evolving Star Wars universe. All this plus new conversations in music and improvisation. Below is a full recap of everything published across the network in June, listed Continue Reading …

Continuing on Mere Christianity (1952). We discuss his take on the problem of evil, how happiness is impossible without Christ, our potential to evolve from bios (biological nature) vs. zoe (spiritual nature), sexual morality, pride, and more.

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Your wise and authoritative hosts explore forms of respectful address, what counts as good philosophy, the holodeck full-contact Fantasy Island experience, status in economic transactions, Trek not War, default improv scenarios, fear of playfulness, philosophy or improv as education vs. doing philosophy or improv, and more.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

Survivor has remained a top-rated show since its debut in 2000, and some of us (Sarahlyn and our guest Wes Alwan) have stuck with it throughout, Mark just watched when it came out and had to catch up, and some of us (Lawrence and Al) had not previously been on board at all.

We talk through the evolution of the show, from torture exhibitionism to now lore-drenched soap-operatic beach games. Is this show designed to be watched in the background? What makes for a good player? What criteria to the jury members use to vote for a winner? What is the target audience for the show? Are the games well designed? How does the show deal with racism?

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On Hegel's Phenomenology of Spirit, sec. 551-559, which are sections assigned for but not actually covered on The Partially Examined Life ep. 394.

We get more info on how The Enlightenment supposedly mischaracterizes faith, but also how faith sees The Enlightenment and what Hegel considers to be good points coming out of The Enlightenment's critique.

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On Mere Christianity (1952), where Lewis presents the moral argument for the existence of God and present Christianity as uniquely solving the human conundrum that our moral phenomenology presents, i.e. that the moral law is real in us yet we can never fulfill it. Once you're on board with that reasoning, faith is a matter of sticking to your realization even though Christianity's moral rules are extremely stringent.

Don't miss the PEL Live show in Madison, WI on Saturday afternoon, July 11. See partiallyexaminedlife.com/live for details.

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We conclude our treatment for the moment of the Spirit section of Hegel's Phenomenology of Spirit, sec. 527-73.

Hegel's diagnosis: The Enlightenment and faith only seem to be in conflict because they are two sides of "pure consciousness," i.e. thought as a retreat from the actual world. So yes, if you see faith as mere belief, as a thought about some unprovable matter of fact, that is not going to stand critical scrutiny. Hegel's conception of faith will instead be an involved, behavioral, social engagement with the world.

Don't miss the PEL Live show in Madison, WI on Saturday afternoon, July 11. See partiallyexaminedlife.com/live for details.

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Michael is the songwriter and guitarist for the Canadian band Cowboy Junkies (featuring two of his siblings and a childhood friend), with whom he's released 20+ studio albums and several live albums since 1989.

We discuss "Throw a Match" from Such Ferocious Beauty (2023), "He Will Call You Baby" from More Acoustic Junk (2025), remade from One Soul Now (2004), and "Rock and Bird" from The Caution Horses (1990). End song: " Unanswered Letter" from The Wilderness-The Nomad Series, Vol. 4 (2012). Intro: "Misguided Angel" from The Trinity Session (1988). More at cowboyjunkies.com.

Hear more Nakedly Examined Music at nakedlyexaminedmusic.com. Support us at patreon.com/nakedlyexaminedmusic.

Who is Godot? Whether God, objet a, or an abstraction from any object that is supposed to resolve dramatic suspense, it is clear that Vladimir and Estragon imagine him to be an agent of salvation (even if they can’t remember exactly what it is that needs saving). Perhaps the name is meant to satirize any states of expectancy—aspirational, libidinal, political, or religious—insofar they seem to be a means to a kind of spiritual completion that is impossible. Except, arguably, in the imagination, including its refinements in the products of the arts. If Samuel Beckett is too cool to provide us with ordinary entertainment and edification, does he mean to bore us, berate us, or do nothing at all? Erin & Wes pass time by discussing “Waiting for Godot,” and whether frustrating expectations is sometimes better than either violating or gratifying them.

Mark and Al share their mutual interest in fantasy novels. Is "high fantasy" fundamentally different than what enjoyed as kids? Did Peter Jackson's Lord of the Rings and HBO's Game of Thrones show us that these big books are adaptable, or were they exceptions?

We're anticipating the upcoming Mistborn/Cosmere adaptations, as we're both into Brandon Sanderson. We also talk about The Wheel of Time, Rings of Power, Earthsea, Shannara, Joe Abercrombie, Robin Hobb, Stephen R. Donaldson, Patrick Rothfuss, Tad Williams, and of course Harry Potter.

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On Hegel's Phenomenology of Spirit (1807), sec. 527-73, i.e. "Faith and Pure Insight" and "The Struggle of Enlightenment with Superstition."

Picking up where we left off in this book, an intangible part of us ("pure consciousness") escapes the attempts of culture to define us. This spiritual part has two sides: pure insight, which is the destructive critical faculty popularized by The Enlightenment which sees through all hypocricy and unwarranted belief; and faith, which Enlightenment either dismisses as superstition or chases into a little corner isolated from the real, empirical world. Eventually, the tension between these leads to a conception of faith that Hegel finds more congenial: Awareness of God is just a function of self-consciousness itself, though we don't typically recognize this.

Don't miss the PEL Live show in Madison, WI on Saturday afternoon, July 11. See partiallyexaminedlife.com/live for details.

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What would PvI be with zero masculine energy? This episode features your usual co-host Mary Hynes and our frequent guest Jennifer Hansen (philosopher at St. Lawrence University). They chat about being hot in a hostile world, interacting with AI, fighting with parrots, and they act out scenes involving the f*cks store and the actress who is too perfect.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

Concluding our treatment of Ch. 2 of Hegel's Faith and Knowledge (1802). Hegel wants to connect various ideas in Kant: The idea of an "intuitive, achetypal intellect" which we have to refer to in explaining biology, the synthesizing imagination that makes experience possible, and the unknown agency that makes things-in-themselves suitable for processing by our knowledge faculties and vice versa.

For Hegel, these things all point to Reason as both the way we know God and the activity of God Himself: Hegelian Reason is the bringing together of seemingly opposite things, and so underlying our minds must be some greater kind of mind that brings together mind and world to create experience.

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In light of The Mandalorian and Grogu (and the Disney+ Darth Maul cartoon), we (Mark, Lawrence, Sarahlyn, and Al) check back in with Star Wars. Is it now "just another franchise"? Does the movie meet expectations? What's the right volume of Star Wars media? Are the cartoons good? What variety of creators and genres is there room for? Should anyone bother with the books and comics?

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The golden-voiced son on Richard and Linda is more tied to '50s/'60s rock and country than he his to his parents' folk influences, and he's recorded ten albums of tuneful, straightforward but highly idiosyncratic rock and country tunes since 2000.

We discuss "Come Back" (and listen at the end to "So This Is Heartache") from Never Be the Same (2026), "Move At Speed" from Heartbreaker Please (2020), and "I Should Get Up" from Separate Ways (2006). Intro: "In My Arms" from A Piece of What You Need (2008). More at teddythompson.net.

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Continuing on Ch. 2 of Hegel's Faith and Knowledge (1802) , plus some of the material being critiqued from Kant's Critique of Judgment (1790), chiefly sec. 76 and 77.

Kant's third critique is not just about beauty but about apprehending nature, and he claims that as humans, we can only understand natural objects by seeing them as purposive (i.e. teleologically): An organism has a healthy state that it is designed to aim at. While Kant can't use the classical Design argument to thus argue that we know that God exists qua designer, he argues that as a practical matter, we must regard such a designer as present. Hegel argues that this is one of many points where Kant should stop dithering and just admit that his project involves Reason actually knowing theological facts.

Mark and Mary are joined by Andrea, an Italian teacher with a broad performing background who's written a book of philosophical, poetic aphorisms called Think Town: self-help reflections and directives about fear, ego, happiness, etc.

There's a long history of aphorisms in philosophy, and philosophy invented the self-help genre, but how does philosophy work given the lack of argumentation?

We explore the monster under the bed, AI agents, making philosophy personally applicable, being receptive, DOT ego secretions, and more.

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Talk to Seth Have you ever wished you could have a conversation directly with one of us? Yes, we’ve done tutoring in the past (and Mark still does it). But maybe that’s too much of a commitment or too intimidating? Maybe your schedule doesn’t allow. Now you have another option: introducing AI Seth. Artificial Intelligence (AI) is obviously a hot Continue Reading …

May was an especially full month at PEL, featuring discussions in philosophy alongside a mix of music, film, and improvisation. The month featured Habermas’s defense of modernity, Hegel’s reflections on reason, Horkheimer and Adorno’s reading of the Odyssey, and a return to Diderot’s Rameau’s Nephew. All this is available with episodes on folk music, television, cinema, and political ethics to Continue Reading …

Continuing on Faith and Knowledge (1802), Ch. 1 and 2. We start off by discussing how beauty might give us a window into things-in-themselves according to the Romantics, who were in part following Kant's lead. Also, what version of the ontological argument for the existence of God does Hegel believe? We try to figure out what Hegel is praising in Kant's positing of synthetic a priori claims, and yet how he thinks Kant didn't understand the implications of this view.

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To many people, “just war” sounds like an oxymoron. How can the lethal violence unleashed in war ever be just? Yet realpolitik underscores that not all international conflict lends itself to peaceful remedies. The twenty-first century, like many centuries before, has been one of great conflict. The U.S.-Iran war and the Russia-Ukraine war are just two examples among many current Continue Reading …

Richard played with art-rock band Japan from 1975 through their five albums, then continued to collaborate with members of that group, releasing several increasingly atmospheric albums as Jansen-Barbieri, Jansen-Barbieri-Karn, Rain Tree Crow, et al. He joined Porcupine Tree in 1995 and has played on their 20+ albums, and began putting out ambient solo releases in 2004 (perhaps seven albums' worth to this point) while continuing to collaborate.

We discuss "A New Simulation" from Hauntings (2026), "All Fall Down" from Stranger Inside (2008), and "Sleepers Awake" by Jansen-Barbieri from Stone to Flesh (1995). End song: "Waiting to Be Born" by Steve Hogarth and Richard Barbieri, recorded 2015 and released in 2023. Intro: "The Experience of Swimming" by Japan, from Gentlemen Take Polaroids (1980). More at richardbarbieri.bandcamp.com.

Hear more Nakedly Examined Music at nakedlyexaminedmusic.com. Support us at patreon.com/nakedlyexaminedmusic.

In light of the new, well-acted and well-shot BBC/Netflix adaptation, we discuss William Golding's 1954 novel Lord of the Flies and its previous (1963, 1991) adaptations. Featuring Mark, Lawrence, Sarahlyn and Al.

What do we think of the updates made for this retelling? Its pacing? Its repeated close-up shots of kids' silent faces? Is this per usual obviously inferior to the novel, or does it actually present deeper characters and a more visceral presentation of their degradation?

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On Faith and Knowledge (1802), Ch. 1 and 2. Famously, Kant critiqued Reason to effectively forbid theology and metaphysics, and a young G.W.F. Hegel was not happy about that. He argues against the reduction of Reason to merely applying to the realm of experience, which makes religion merely a subjective, insubstantial matter. Hegel thought he could do better.

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We read part of The Dialectic of Enlightenment (1944), specifically the parts about Homer's epic as an allegory for the merely apparent triumph of modernism (capitalism, instrumental reason) over myth (savagery, magical thinking).

Homer is odd for H&A because even stylistically, the epics present a mixture of cultures: They glorify violence, but their form is very ordered, and their very popularity makes them the first mass-culture products of the West. Throughout The Odyssey, Odysseus is in effect saying goodbye to the mythical world as he turns each challenge into a tool in his quest to get home. H&A use the episode with the Sirens as an allegory for how the workers are deafened to the call of anti-social myth (they have their work to do!), while the upper class can hear it but is helpless to actually act on it; like Odysseus tied to the mast, they too are strapped into the capitalist machine.

Read along with us; Ch. 2, "Odysseus or Myth and Enlightenment," starts on PDF p56 (p35), but we quickly backtrack to the first mention of Odysseus in Ch. 1 (the same essay we began previously) on PDF p46 (p25).

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We are REELING from our REDACTED episode, and so we talk about the lessons we learned from that and start thinking about what it is to be out of one's comfort zone: how do fear and ego issues interact? Is playfulness a lack of professionalism? Are both arrogance and humility products of fear?

Plus, cutting-edge surgery reality shows, Schrödinger's hostile cat and Dr. Brenda's sentient food samples, Bishop Jim vs. Trudy the Innocent, and more!

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Continuing on on The Philosophical Discourse of Modernity, Ch. 1, 2, and 5 with guest John Ganz. We further discuss Habermas' characterizations of Hegel's take on modernity and eventually get to Adorno and Horkheimer, whose dismissals of modernity Habermas thinks go too far.

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Get more at prettymuchpop.com. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop.

Tom was an integral member of the Greenwich Village early '60s folk scene (playing originals regularly before Bob Dylan did). His tunes have been covered by Dylan, Pete Seeger, Joan Baez, Johnny Cash, Willie Nelson, Dolly Parton, Harry Belafonte, and many others. He received a lifetime achievement Grammy in 2009.

We talk about "Rebel Gal" from Together Again (2026) (a collaborative album with John McCutcheon), "If the Poor Don't Matter" from Redemption Road (2015), "Mr. Blue" from Morning Again (1968), and "The Death of Stephen Biko" (with Anne Hills and Bob Gibson) from Best of Friends (live in 1984, released in 2004; the song was originally recorded for Heroes, 1978). Intro: "I Can't Help But Wonder Where I'm Bound" from Rambin' Boy (1964). More at tompaxton.com.

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On Jürgen Habermas’ The Philosophical Discourse of Modernity (1985), featuring guest John Ganz.

 Habermas defines modernity as Enlightenment ideals, discusses what's wrong with them (subjectivity), how Hegel argues constructively that a social element needs to be added this this, and how many other critics (e.g. Adorno, Nietzsche, and Foucault) instead argue more destructively against Enlightenment values like Truth, liberty, and justice.

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It’s 1969, and as drug guru Danny tells us, “the greatest decade in the history of mankind is over.” There will, he says, be many refugees, and the film’s implication is that Withnail—who combines self-importance and lofty ambition with substance abuse and urban squalor—will not be one of them. Marwood, by contrast, has seen the writing on the wall, in the form of the salacious tabloid stories that, while they threaten to outcompete the world’s attention for the arts, ultimately can’t be used to excuse the pair’s failure to find work as actors. Countering this attentional collapse perhaps requires getting serious: leaving bohemian pretensions behind—and along with them, as Marwood finds out in their jaunt to the countryside—a backward-looking romanticism that can be used as a cover not just for artistic paralysis but upper class predations, both economic and sexual. Wes & Erin discuss the cult classic “Withnail and I,” and whether our capacity for sublimation suffers less from the crisis of modernity than from our attempts to transcend it.

April at PEL carried the Hegel series forward while shifting into some of its more socially relevant territory. Additionally, the month saw a mix of film, music, and improvisation, with episodes on everything from horror franchises and prestige TV to Diderot and songwriting. Below is a full roundup of everything published across the network in April, listed in order of Continue Reading …

Continuing on Rameau's Nephew, getting further into Rameau's philosophy and practices and trying to figure out what this anti-hero can tell us about ethics, given that he displays the virtue of being candid about his own vices.

We talk about "trade idioms" (unethical practices that we consider normal), education, and music. How does this reading relate to Hegel (who quotes it directly)?

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Since its inception, psychoanalysis has been in robust conversation with Greek mythology and philosophy. Modern psychoanalytic theories developed in sustained dialogue with mythology and philosophy, mediated in no small part by Sigmund Freud’s reading of the Greeks. While more contemporary psychoanalysis has largely amended this Freudian dependence on the interpretation of Greek myth and philosophy, the advances made by Freud Continue Reading …

Every PvI recording is an experiment, and in this case, our guest (a bigwig acting coach in NYC whom I went to high school with) didn't feel great about the episode, so I offered to paywall it. Here you get to hear what you're missing, along with a little pitch about why you should support the show.

To respond affirmatively to this pitch and hear (and see!) the whole episode, visit patreon.com/philosophyimprov.

On Ch. 2 "The Honest Soul and the Disintegrated Consciousness" in Sincerity and Authenticity (1972). This chapter focuses on a reading of Diderot's Rameau's Nephew and what Hegel made of it in the Phenomenology, so it's essentially for us a second opinion re. what we've been talking about on The Partially Examined Life.

Read along with us.

Watch this as unedited video.

To get future parts, subscribe at ⁠⁠⁠⁠⁠⁠patreon.com/closereadsphilosophy⁠⁠⁠⁠⁠⁠.

We discuss Steven Knight's six-seasons-and-a-movie historical crime show Peaky Blinders, featuring Mark, Lawrence, Sarahlyn, and Al. Does the show live up to its initial excellence? It's got a great emotional premise (post-WWI PTSD), and there's a ridiculous amount of gravitas among the cast, but do the heists undermine this heft?

It's OK if you haven't seen the show; we hold off on spoilers for quite a while and warn you when we reach that point.

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Alan released two albums with folk-rock band Knots and Crosses in the early 90s, put out one solo album, then became a recording engineer and earned a PhD in ethnomusicology. He released three albums between 2010-2019 fronting Birdsong at Morning and put out two more solo albums.

We discuss "Just Like Water" (and listen at the end to "Somewhere There's a Train") from Floating on the Dreamline (2026), "The Great Escape" by Birdsong at Morning from A Slight Departure (2015), and the title track to Curve of the Earth (1993) by Knots and Crosses. Intro: "Neon Dreaming," originally from Evidence (1994). More at alanwilliamsevidence.com.

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On Denis Diderot's Rameau's Nephew, a dialogue written in the 1760s. Is virtue necessary for happiness, or in the real world, is vice necessary to get by? Diderot's character Rameau argues the latter: that philosophical morality is problematic, and our imperative is prudence, which in Rameau's case involves a lot of clownish deception and (ironically) truth-telling.

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Bill is a singer/songwriter who recorded five albums of catchy tunes between 1989 and 1991, then retired but came back a vengeance in 2014. He's now just released his 13th album, Haunted, and we talk about "Perpetual Tourist" and listen at the end to the title track from that, "Trentham" from A Trip to the Coast (2014) and "Pigalle on a Tuesday is Charming" from Parce Que (1988). Intro: "Tommy & Co," from Three Months, Three Weeks and Two Days (1989). More at billprichardmusic.com.

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BJ is an LA improviser/actor/TV host (who teaches wounded warriors among others), and he chats with Mark and Mary about migratory patterns, TV shows that date you, how to draw in students, the realness of birds, and playing unsafe characters.

Scenes include a forced-Fargo college experience, improv class on the roof, spying on birds, and keyboard warriors. Plus Marge and Larry.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

We discuss the hard sci-fi film Project Hail Mary, which along with The Martian (2015) was based on a novel by Andy Weir and adapted by Drew Goddard. Mark, Lawrence, Sarahlyn and Al consider how hard we actually like our sci-fi, the directors of these films (by Lord/Miller and Ridley Scott respectively), how the books got adapted, Weir's other work (Artemis, some webcomics, etc.), and more. How does Weir make a series of scientific problems into an actual, enjoyable plot?

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Concluding on "Culture and its Realm of Actuality," in Hegel's Phenomenology via sections 519-526.

We get into some of the ironic psychology here: In giving loyalty to the king, the nobles actually boost themselves qua givers. They should be grateful to the king to get wealth back from him, but being dependent on the king makes them resentful. The result is duplicitous people resenting those they claim to esteem, and moral language that is thus used inconsistently (the king is "good" when praised by "bad" when resented), which encourages jaded moral nihilism.

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 511-526, which finishes off the sub-section of "Self-Alienated Spirit" called "Culture and its Realm of Actuality."

Whereas in our last discussion, obeying the state (public power) ran counter to hoarding wealth (private power), at this stage, the two converge, because the state gets concentrated in a single monarch who both receives our power and doles out wealth to his supporters. So putting your effort into obtaining private wealth ironically requires surrendering your agency (and hence wealth) to the state.

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On "Against Narrativity" (2004), where Galen (son of P.F.) argues that the prevalent philosophical and cultural camp is wrong. This objectionable camp (the Narratives) says that we understand our lives by telling ourselves a story about ourselves. Moreover, this is how we make meaning out of our lives, and how we thus behave ethically, taking responsibility for our past and future: how we have integrity.

Galen rejects both the descriptive claim here (that this is how we all, or at least those of us functioning as designed, process our experience) and the moral claim (that ethical comportment requires that we experience our lives narratively. Read along with us.

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March at The Partially Examined Life (PEL) continued the extended run through Hegel and opened into a wider mix across the network. Alongside discussions of ethical life, law, and culture in the Phenomenology of Spirit, the month included episodes on Kierkegaard and Sontag, as well as entries in music, film, and improvisation. Below is a full roundup of everything published Continue Reading …

In this pitched, high-stakes battle, your hosts have it out about astrological biases, doing offensive accents, letting go of control in an improv scene, and group-based restrictions on who you feel you date.

Does Jesus have time to appear on your toast? Are all TV characters robots in a shared robot universe? Are zodiac signs based on serial killer characteristics? How does Pluto FEEL about not being a planet any more? So many vital questions definitively addressed in one meditation together...

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We talk about the Scream meta-slasher film franchise, from the original Wes Craven /Kevin Williamson 1996 debut starring Neve Campbell, and Courtney Cox to the new one (#7), still with three out of four of those participants (Wes Craven being dead).

Is the self-reflection about the horror genre in these films actually elevating, or just a permission structure to enjoy the base pleasure of seeing people murdered? Are these actually films that people who normally hate slasher movies still might enjoy?

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Continuing on the "Spirit" chapter (more specifically. "Culture and its realm of actuality") in Hegel's Phenomenology, now covering sec. 490-510. How exactly does the process of acculturation work?

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 484-510, which is the first part of "Self-Alienated Spirit. Culture."

In Hegel's ongoing semi-mythical story about the development of the modern self and society, we're now at a point where people are "bare persons," legally recognized but not distinguished from each other. We thicken these thin selves using cultural contents: your profession, your group memberships, your style, etc. But this way of individuating is fundamentally self-alienating: these ways that we identify ourselves are foreign to our souls!

Kavus began in dual-guitar London math-rock bands in the '90s, joined The Cardiacs for their final lineup. His band Knifeworld released the first of its four albums in 2009, he released solo albums in 2020 and 2024, and since 2014 he has released six albums with legacy prog-rock band Gong. He has also released four studio albums with electronica band The Utopia Strong since 2019.

We discuss "Stars in Heaven" by Gong from Bright Spirit Haulix (2026), "Send Him Seaworthy" by Knifeworld from The Unraveling (2014), "You Broke My Fall" by Kavus Torabi from Hip to the Jag (2020), and "Wise Guy" by The Monsoon Bassoon, a 1998 single. Intro: "Ditzy Scene" by The Cardiacs, a 2007 single eventually released on LSD (2025).

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Continuing on on sec. 469-483 of Hegel's Phenomenology, finishing the analysis of Antigone and bringing in Oedipus to say why the conflict between types of law is both criminal and destined. We then turn to the aftermath: a society alienated from law but with legally recognized self-conscious individuals.

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St. Lawrence philosophy prof Jennifer L. Hansen, one of the most frequent guest on Mark's podcasts and expert in feminist philosophy, here hits it off with our new host Mary. We act out vegan jerky time, snacktime at the all-girls clubhouse, and two gals getting pulled over by a cop.

Does the "come debate me" style of philosophy include unnecessarily masculine tropes? How does this Charlie Kirk model relate to what Socrates was doing? What are alternative, fun ways to get students to talk in philosophy classes?

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Photography is a technology of contradictions. It is at once mechanical and mysterious, even magical. It furnishes evidence of presence while being a token of absence. It can show us proof but can’t, without accompanying narration or context, make us understand. And perhaps most perplexing of all, it is an imperialistic technology which, paradoxically, atomizes the world and democratizes all events and experiences, making each viewer of photographs the owner of a facsimile-world in his or her head. Wes & Erin discuss two essays from Susan Sontag’s collection, “On Photography,” “In Plato’s Cave” and “America, Seen Through Photographs, Darkly,” and ask what constitutes photography’s “ethics of seeing,” and whether Sontag suggests an alternative comportment towards the camera, the subject, and the photographic image.

In light of Judd Apatow's HBO documentary The 99-Year-Old Man, we discuss the films of Mel Brooks, which were to varying degrees formative on us (i.e. Mark, Lawrence, Sarahlyn, and Al).

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 464-483, which are under the sub-headings "Ethical Action. Human and Divine Knowledge. Guilt and Destiny" and "Legal Status."

After anticipating it in last episode, we get  Hegel's allegorical analysis of Antigone as a clash between two types of law that cooperate in a harmonious society. With this clash, both fail, leaving us with modernity where law is alienated from individuals.

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Lande started in the 2010's in the British punk-pop group Muncie Girls, with six releases (mostly EPs), and began her solo career in 2019. We discuss "Coming Home" (and listen at the end to the title track) from her fourth solo album Lucky Now (2026), "80 Days of Rain" from Going to Hell (2011), and "Learn In School" by Muncie Girls from From Caplan to Belsize (2016). Intro: "Gay Space Cadets" from House Without a View (2022).

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Continuing on the "Spirit" section of The Phenomenology of Spirit, giving a sort of social metaphysics, wherein the ethical life of a society is analyzed into two complementary types of law, human (explicit laws but also customs) and what Hegel calls "divine" (a subconscious ethical sense represented by the home and women).

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February at The Partially Examined Life continued several major threads while branching into new territory across the network. The month featured the conclusion of the Graham Harman series and an extended interview with Harman himself, alongside discussions of Hegel, Shakespearean drama, and musical improvisation. Below is a full roundup of everything published here at PEL in February, listed in order Continue Reading …

On an excerpt from Soren Kierkegaard's Concluding Unscientific Postscript (1846) that critiques Hegel's idea of logic (dialectic) and then argues for his own conception of "truth as subjectivity."

In this first part, he's mostly focusing on Hegel. First (along with the rest of the world), K. denies Hegel's idea that logic is equivalent to physics (or biology, or any other analysis of what actually exists). Furthermore, the idea of a "system" is only one that (according to K) makes sense if you're looking down on the universe from God's perspective. Everything else is in progress: the object you're trying to know is changing, and you as subject are changing.

Follow along, starting on PDF p. 2 (document p. 196).

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What is it worth raising an objection over, and how hard do you fight? We hear (and act out) Mary's roommate-searching trauma, plus Mary for President, curiosity about bellicose Twitter, respect vs. reverence, rationality and religion, dealing with QAnon believers, family Thanksgiving, giving someone else a name, vegetarianism, and the angel of philosophy.

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If an understanding of music implies a love of structure, perhaps the musician’s relationship to his art mirrors the one he has with authority, both human and divine. Salieri, whose father was a man of commerce, sees God as a kind of bank manager who records prayers and sacrifices as payments on a long-term loan of musical talent. Salieri’s economics work just fine until the arrival of Mozart, who seems to have put up no collateral—he’s ”a giggling, dirty creature” in the words of Salieri—but has received the equivalent of a billion-dollar loan. Are Mozart’s gifts a glitch in divine accounting? Or are his flaws attendant on or even the result of his genius? And how can we account for the glitch in Salieri’s design, which permits longing to go unanswered by talent? Wes & Erin discuss the 1984 film “Amadeus,” directed by Milos Forman.

In light of the now-completed black history month and the upcoming Oscars, we consider the "Oscars So White" issue that was a hot topic about a decade ago.

We all tried to watch some of the Oscar-nominated films by black creators, like Twelve Years a Slave, Moonlight, Judas and the Black Messiah, Boyz in Da Hood, et al. What makes for a critically lauded drama in this genre? Does a film have to have black creators (not just stars) to be an authentically black film? Are such films destined for a niche audience? Mark, Lawrence, Sarahlyn and Al discuss.

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On. G.W.F. Hegel's The Phenomenology of Spirit (1807), sec. 438-463. What constitutes society? 

We're beginning a multi-episode arc here on the "Spirit" chapter of the book, so we learn what Spirit actually is and how it relates to individuals. We also talk about the two layers of law that make up society and how these can be in or out of harmony.

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John has released at least fifteen albums, more than half of these under the name King Missile, but even this name covers three different bands, since John until recently didn't play any instruments, so his music is always collaborative with one or more music writers. Apart from his various musical projects, he's published around 50 books of poetry and publishes poems every day on his Facebook page.

We discuss "Her Cock is True" from the yet-to-be-released King Missile album Quest for Fire, "Eating People" from The Psychopathology of Everyday Life (2003), and "Sensitive Artist" from Fluting on the Hump (1987). End song: "Garden" by You, Me and This Fuckin’ Guy from Garden Variety Fuckers (2020). Intro: "Detachable Penis" from Happy Hour (1992).

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In this series, we’ve been looking at ideas that are dismissed too quickly. “Fallacy!” is the label applied, as if the accusation alone settles the matter. The word has power, and rightly so. A knowledge of fallacies is critical to blocking attempts at manipulation from others and avoiding argumentative mistakes ourselves. But sometimes the label is a substitute for real Continue Reading …

In our continuing Q&A with Graham, we engage him about Kantian Things-In-Themselves, complex things (that if divided, must be cut at the joints) vs. mere heaps, fact ontology, natural kinds, fictional objects, why philosophy is not knowledge, and philosophical style.

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Jerome is an LA composer/director/screenwriter who is involved in a lot of musical improv, so Mary and Mark interview him about that and about the function of art, plus songs for pets, a support group for people who sing all the time, and more.

Hear more PvI. Jerome sticks around for the post-game, shared with you non-supporters just this once. Support the podcast to get this for most episodes, plus an ad free experience.

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When we don't know much about some genius playwright's life, why not make up some things based on the contents of his plays? Maybe put Shakespearean dialogue right in character's mouths, so the audience will say, "hey, I remember that line!"

Mark, Lawrence, Sarahlyn, and Al talk through the Chloe Zhao Oscar-bait historical drama, Hamnet, and its source, the 2020 novel by Maggie O'Farrell. Is the film great, or just "grief porn"? Plus, Shakespeare in Love and other biopics.

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Folky singer/songwriter and psychotherapist Robert started in the '80s but considers 1994 his professional debut and has now released his seventh album since then, The Space Between Us.

We discuss "Attic of Desire" (and the intro is "The Forest From the Tree") from that album, plus "Uncertain" from Beloved (2017), the title track from Earthside Down (1998). End song: "Rock A Bye" feat. Victoria Williams from Days Like These (1994). More at robertdeeble.com.

Watch Robert's video for "The Forest From the Tree." The previous version of "Attic of Desire" was called "A Formal Apology" from Thirteen Stories (2003). Watch Robert and his band play "Earthside Down" live in 2002.

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An interview with Graham in light of his new book, Waves and Stones: On the Ultimate Nature of Reality, which elaborates and adds to issues that the gang previously studied in Object-Oriented Ontology.

Graham argues that in addition to objects (which have parts), there are continua, such as space and time, and these continua are the links that allow otherwise forever separated objects to touch each other.

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We consider chapter 2, "Aesthetics Is the Root of All Philosophy," where Harman describes how art can help us see behind the veil to things-in-themselves. Art is "theatrical" in that it's really the spectator who is standing in like an actor for the object encountered in art.

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We're discussing Trey Parker and Matt Stone's Comedy Central show that premiered in 1997 and has just finished its politically relevant 28th season, featuring the usual crew: Mark, Lawrence, Sarahlyn, and Al.

How can a show be so juvenile yet so apparently well thought out?e get into the evolution of the show,, the equal-opportunity offensive humor, the use of child characters to deliver it, their ambiguous politics, the quick turnaround production, the excellent music, and more.

Get more at prettymuchpop.com. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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Vancouver philosophy prof Elijah was an evangelical Christian who turned liberal and then atheistic, and his latest book, "Unbelieving God: A Skeptics Guide," considers and debunks the various arguments for the existence of God.

Mark and Mary chat with him about his journey and about the degree to which we should care about others' beliefs in this area so as to engage them in debate. In the course of this, as you'd expect, God makes a personal appearance (with Mary), and there's an aborted sketch about a brainwashing service.

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January opened the year at PEL with a mix of social and political philosophy, close textual interpretation, cultural criticism, and more. The month featured engagements with figures such as Frantz Fanon, Bruno Latour, David Hume, and Graham Harman, and discussions spanning film, television, music, and Shakespeare. Below is a full roundup of everything published across the network in January, listed Continue Reading …

Continuing on Object-Oriented Ontology: A New Theory of Everything (2018), finishing up ch. 1 (discussing what's so bad about reductionism) and moving to ch. 4, "Indirect Relations," which is about causality.

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We're within the Self-Consciousness chapter of The Phenomenology of Spirit, specifically starting at sec. 206, which is the transition between two sections we've already considered on this podcast: Stoicism (and Skepticism) and Reason. The more famous part of the self-consciousness portion of the book is on the Master-Slave conflict, and in this section, we've got a similar dividedness, but it's all within one psyche, like you're being tortured by a voice in your head that you don't realize is just part of you.

We go between three different translations here: Pinkard, Inwood, and finally Miller, which is what we normally use and will use going forward.

You can choose to watch this on unedited video. To get future parts, subscribe at ⁠⁠⁠⁠patreon.com/closereadsphilosophy⁠⁠⁠⁠.

On Harman's Object-Oriented Ontology: A New Theory of Everything (2018). What counts as an entity in the world? Harman includes not just physical objects, but fictional objects, "sensual objects," and even events, which you might have thought were the alternative to objects.

With this promiscuous ontology comes a strange theory of causality whereby no real object touches another real object, and an epistemology that involves us having no knowledge of real objects at all, though Harman's theory art gives us a back-door to make up for this deficiency, and philosophy itself ends up sharing in these properties of art.

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To kick off 2026, Mark and Mary talk about memory: memory care for the elderly, the relation between things and memories, what professional activities are worth preserving (improv performances?), being the tchotchke, womb nostalgia, puppets and percussion, plus a visit from the future.

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Brutus is an honorable man, but Caesar is Caesar: at the beginning of Shakespeare’s play, his name is near the point of becoming synonymous with dictatorial power, and his every wish, as Mark Antony points out, has the substance of a command. For the rebels who oppose him, this identification of political authority with personal will is a perversion of republican institutions, and a form of corruption that justifies any means of putting an end to it, even if that means killing a friend. Yet Brutus’s conception of himself as unflaggingly virtuous is one he in fact shares with Caesar, and perhaps reflects the same authoritarian tendency, in grounding the legitimacy of political action in the character of a particular actor. Then again, it is not clear that democratic institutions will always forestall authoritarian tendencies, rather than enable the masses to sanction absolute power in a charismatic leader. Wes & Erin discuss Shakespeare’s “Julius Caesar,” and its sustained reflection on how political power is constructed, located, and legitimated.

Mark and Wes read and discuss the short 2007 article, "Can We Get Our Materialism Back, Please?" Here Bruno Latour complains that materialism as modern common sense conceives of it is actually idealist: It is a social construction. Instead, a "thick" concept of material things acknowledges and details their historical (i.e. material in the Marxist sense) origins.

Read along with us.

You can choose to watch this on video.

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Ontario guitarist Darren has released six albums of concise instrumentals since 2019, often using metal guitar tones and tropes, but with a great range of tones and often catchy melodies.

We discuss "The Day Beneath Yesterday" (and listen at the end to "Dangerous Curves") from Perpetual Night (2025), "Broken Glass and Disappointment" from Thoughts and Scares (2022), and "The Earth is B Flat" from Lifting the Curse (2019). Intro: The title track from Wonders of the Invisible World (2020). More at darrenboyd.com.

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Finishing up Group Psychology and the Analysis of the Ego, finally now turning to Freud's anthropological account of group membership.

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David Hume’s influence is felt throughout Anglophone philosophy, most especially in epistemology. Typically, students and scholars of Hume’s epistemology focus on whether judgments and sentiments, among other considerations, can count as knowledge. For normative judgments, this focus leads to thorny questions about grounding, truthmaking, and non-cognitivism. This is rough terrain, and the approach foregrounds metaphysical matters that Hume took pains to avoid. Accordingly, this piece will Continue Reading …

December closed out the year at PEL with a mix of philosophy, psychoanalysis, music, film, and holiday-season reflection. The month featured discussions on Freud, law, music, television, and popular film, alongside seasonal episodes of Philosophy vs. Improv and Pretty Much Pop. Below is a full roundup of everything published across the network last month, listed in order of occurrence. Ep. Continue Reading …

The Netflix sci-fi/horror/teen series by the Duffer Brothers that started in 2016 has now finished with its sixth season, attempting to be both epic and sentimental. Who is this show actually aimed at? We talk about the initial appeal through various uneven seasons through the execution of the finale. Has the thing gone on so long that we can't make sense out of the continuity. Featuring, as usual, Mark, Lawrence, Sarahlyn, and Al.

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On the second half of Group Psychology and the Analysis of the Ego. We talk about the dual origins of group membership for Freud in personal love and in the supposed primitive society where a horde was led by a tyrannical father.

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On Franz Fanon's Black Skin, White Masks, ch. 7, B. "The Negro and Hegel." Hegel describes the abstract attainment of self-consciousness through recognition, but is this actually how it works in real slavery and its aftermath?

Read along with us, p. 216 (PDF p. 234).

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Rich runs the Dare to Fail improv school and is author of Improv Made Easier. He joins Mark and Mary to discuss contexts of failure, failing to meet your goals vs. "objective failure," how to react in an improv scene to some topic that's too offensive for you, graveyard humor vs. reverence. Featuring Steaks You Deserve, Robo-Carson, cancer torture, interactive cemetery, Sounds of Failure, and open-sourced MST3K.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

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It's time to sign up for the new online class on Hegel, Sartre, Arendt, Schopenhauer, and all your other favorite friends. You can learn all about it and get the link to enroll at partiallyexaminedlife.com/class.

The so-called “third man factor” is a phenomenon in which people in dire circumstances experience the presence of an extra person in their midst who gives comfort and aid when it’s most needed—a guardian angel, perhaps, or some figure of divine intervention. Harry Lime seems to have played just such a role in the lives of Holly Martins and Anna Schmidt. But is Lime from heaven or from hell? Perhaps a less-than-angelic third man might estrange rather than bring together, muddle rather than clarify, adulterate rather than help. And indeed, as a black market middle-man, Lime has the devilish power to intervene in people’s lives for the worse—like a narrator who edits out characters and manipulates the plot. Wes & Erin discuss the 1949 classic film “The Third Man,” about friendship and betrayal, and about the stories we tell ourselves in order to love, survive, kill, or even die.

Philosopher/writer/critic/podcaster Lawrence Ware returns to the show to meet Mary and talk about how Mark is his own personal Leroy Jesus. We act out and/or discuss orphan greeting cards, face-to-face instruction vs. writing books, imaginary friends, laugh trumpets, black ice, and is aesthetic judgment (especially of yourself) a mistake?

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

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The Hallmark Channel became famous for producing low-budget, formulaic Christmas films, and this has spread to other outlets, sometimes with higher budgets and ambitions. Mark, Lawrence, Sarahlyn, and Al each watched a smattering of these and share their reflections on the genre and their specific experiences.

Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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Continuing on the first half of Sigmund Freud’s Group Psychology and the Analysis of the Ego, now getting really into Freud's own type of explanation, whereby he explains how libidinal ties bind group members, typically via their shared love of a leader or leading idea.

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On the first half of Sigmund Freud’s Group Psychology and the Analysis of the Ego (1921). Why do members of a mob get dumber and less inhibited?

Freud considers Gustave Le Bon's famous book on crowds but then turns to more organized groups like armies and churches. For all groups, Freud thinks that the leader (or leading ideal) replaces our conscience to some degree.

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Interested in Mark's spring Continental Philosophy class? Learn more and reserve your spot at partiallyexaminedlife.com/class.

While we modern folks have a generally clear distinction between law as in descriptive laws of nature and law as in ethical or civil commandments, these Medieval philosophers saw these as very much related if not actually the same thing, given that humans can ignore the dictates of their nature, i.e. reason, whereas the rest of nature just proceeds according to natural law, which for these theologians means God's dictates. So what actually is the relation, in general, between law and reason?

Our text includes Aquinas' presentation of this issue and his near-contemporary Duns Scotus' commentary on it. Read along with us.

You can choose to watch this on video. To get future parts, subscribe at ⁠⁠⁠⁠patreon.com/closereadsphilosophy⁠⁠⁠⁠.

In a special holiday episode, we get to meet musician and podcaster Roger Heathers, who edits this show. Together, Roger and I discuss how we make the show and share some highlights and challenges re. recent guests.

At the beginning and the end of the show, you get to hear two tracks from his soon to be released Upward Spiral: "Guard Dogs" and "Hopefully." They both feature a warm, holiday-like glow.

You can listen to him at rogerheathers.bandcamp.com, or check out The Weekly Song Podcast.

Hear more Nakedly Examined Music at nakedlyexaminedmusic.com. Support us at patreon.com/nakedlyexaminedmusic.

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Continuing to discuss the virtue and moral action from the Summa Theologica (1268). We discuss the definition of virtue and some subsequent questions about what parts of us the term virtue properly applies to.

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Interested in Mark's spring Continental Philosophy class? Check partiallyexaminedlife.com/class for the latest.

On "The Problem of Christianity," vol. 2, lecture 12, ch. 9, "The Will to Interpret."

The point is to help explain Royce's idea of a community of interpretation, and the idea is that in the very act of interpreting a single individual, I'm bringing in some kind of public lexicon, i.e. other people beyond us two. Even though other people are fundamentally separate from us, we make some sort of leap that is the foundation of community: the will to interpret you as if your mind were accessible to mine.

Read along with us.

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Is argumentation essential to philosophy? Should you always be open to arguments challenging your beliefs? We act out a few symbiotic scenarios and reflect back on our last couple of episodes. Plus animal facts, complaining to your significant other about exes, astrology prejudice, sexual harassment videos, and on-stage self-pleasure.

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Erin just published her first book, “Avail,” which you can order here: https://www.pauldrybooks.com/products/avail

“Avail” features a long prose-poem which titles the book and winds through sections of lineated, often formal poems. The prose-poem comprises a series of lyric meditations on the image of the veil—from religious and cultural veils, to veils imbedded in idiom and metaphor, to veiled women in art and classic films, to veils drawn and parted by illness and death—which slowly divulge the harrowing details of the poet’s blood disorder.

Throughout, allusions to classic film, literature, and art serve as the “veils” with which the poet attempts to obscure the self-estrangement and vulnerability her illness has induced—insecurities which follow her long after her recovery. In a poem about a break-up set during her career as a jazz singer and against the backdrop of a 1930s screwball comedy, she longs “to shake life by the martini (but stay self- / possessed), to star in the movie of myself / instead of playing second lead.” During a visit to Naples, Mt. Vesuvius becomes “a Crawford eyebrow / arched over the bay.” And in California, after a trip to the Getty Villa, she recalls Sontag’s “missive on allusion, that no part / of any work is new, that all is reproduction.” By the end of the collection, O’Luanaigh has fashioned from the sum of these various allusions her own poetic identity, unveiled in the poems themselves.

We discuss the British spy show based on the novels of Mick Herron, which are in turn firmly in a tradition of anti-007 books by John le Carré. Featuring Mark, Lawrence, Sarahlyn and Al. The point is not to glamorize the spy service, but to use realism and black humor to stress the human cost and general boredom of this work along with the dysfunctional nature of the institutions involved.

Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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On selections about virtue and moral action from the Summa Theologica (1268). Aquinas defines virtue, tells us how it metaphysically fits us into the universe, and discusses how it actually works in us to make us perform moral acts.

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Interested in Mark's spring Continental Philosophy class? Check partiallyexaminedlife.com/class for the latest.

Corey has released many of zydeco music since 2004, and mixes his dedication to tradition (even recording a recent album in Louisiana Creole) with his love of many types of music.

We discuss "J'ai Parti dans la Campagne" (and listen at the end to "Outro") from his new release, Live in Alaska; "That Girl Wanna Dance" from the Grammy nominated Nothin’ But the Best (2012); and "Way Back Home," a Jazz Crusaders cover recorded for 3 Years 2 Late (2003). Intro: "Boudin Man (Remix)" from Destiny (2013). More at coreyledet.com.

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Seth is an improviser and aspiring professional "muse," which is a type of life coach that hangs out with you to see where you could be more in touch with your humanity so that you can then work out a coherent plan for your adult life. He discusses with Mary and Mark the conflict between authentic individual humans and a social structure filled with oppressive systems.

Should we "deprogram" ourselves from our standardized upbringing? Is there actually an authentic core we would uncover if we do so, or just a void ready to be filled with the promises of self-help gurus? We act out the personality store, the physically safe space, vulnerability coaching, ankle removal consideration, and more.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

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November brought an eclectic mix across PEL. We covered ancient Egyptian literature, perused musical craftsmanship, returned to American pragmatism via Josiah Royce, and did some deep dives into film. Below is a full roundup of everything published across the network last month, listed in order of occurrence. Ep. 378: Aquinas on God and Mind (Part Three) Nov 2, 2025How does Continue Reading …

More on The Problem of Christianity, discussing how communities relate to history, how individuals relate to communities, and what's unique about Royce's ideal Christian world community.

Get more at partiallyexaminedlife.com. Visit partiallyexaminedlife.com/support to get ad-free episodes and tons of bonus discussion.

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Interested in Mark's spring Continental Philosophy class? Check partiallyexaminedlife.com/class for the latest.

In light of One Battle After Another, Mark, Lawrence, Sarahlyn, and Al walk through the range of his films from his 1996 crime film Hard Eight through his much lauded Magnolia, Boogie Nights, Punch-Drunk Love, and There Will Be Blood and his more controversial recent ones like Licorice Pizza, The Master, The Phantom Thread, and Inherent Vice.

Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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On sections of The Problem of Christianity (1913) which establish Royce's concept of a community of interpretation: individuals working together with a sense of shared history and expectation. He claims that such a grouping can be counted as a literal mind and that it solves the problem of human meaning.

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Interested in Mark's spring Continental Philosophy class? Check partiallyexaminedlife.com/class for the latest.

Marshall began creating his catchy, harmonically thick rock tunes in the early '80s with six major label albums, but went indie in the '90s to record four more as well as several EPs and live collections.

We discuss "Stranger and Stranger," newly reworked for From the Hellhole (2025), "Right On Time" from Jaggedland (2009), "Fantastic Planet of Love" from Life’s Too Short (1991), and we conclude by listening to Our Town" from Field Day (1983). Intro: "Someday, Someway" from Marshall Crenshaw (1982). More at marshallcrenshaw.com.

Hear more Nakedly Examined Music at nakedlyexaminedmusic.com. Support us at patreon.com/nakedlyexaminedmusic.

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Continuing on sources from ancient Egypt, finishing up the instructional literature: "The Instruction of Ptahhotep," and "The Instruction Addressed to King Merikare," and then we move to the dialogues, ""The Eloquent Peasant," and "The Dispute Between a Man and His Ba."

Sponsors: Rula patients typically pay $15 per session when using insurance. Connect with quality therapists and mental health experts who specialize in you at rula.com/pel. Visit functionhealth.com/PEL to get the data you need to take action for your health. Get a $1/month e-commerce trial at shopify.com/pel.

Nurse Ratched likes a rigged game, according to R.P. McMurphy. And it’s true that the game he is playing—lawless and hedonistic, but also vital and free-spirited—is unwinnable on her sandlot. As their conflict develops, we seem to be asked to compare the therapeutic value of McMurphy’s introduction of the Dionysian, to Ratched’s attempt to enforce an ordered calm within the psychiatric ward over which she is absolute ruler. What happens when the Godzilla of superegos takes on a libidinal King Kong? Wes & Erin discuss the 1975 film “One Flew Over the Cuckoo’s Nest.”

Scott, ex-professor at Oklahoma State University and author of "Thinking Ethically: A Handbook for Making Moral Choices," chats with Mark and Mary about ethical debate in our age of seemingly unbridgeable divides. We engage in some suspect philosophical counseling, have a staged mini-debate about affirmative action, and simulate a new class of discussion-intensive air travel. More at scottgelfand.com.

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Someone, somewhere coined the powerful phrase “meaning is use,” but the expression as we know it is from Ludwig Wittgenstein. Among other things, it causes a great deal of headache, which includes figuring out what in the world it means. Regardless of whether it’s right or even what it means exactly, we can still say something about what it does Continue Reading …

In light of Noah Hawley TV show Alien Earth, Mark, Lawrence, Sarahlyn and Al revisit the franchise through its seven canon films beginning with Ridley Scott's 1979 classic.

While there's plenty of sheer repetition (alien loose, killing people one by one) throughout these properties, the various filmmakers attempt to avoid sure repetition by shifting genres. On the new show, we get a pronounced shift to focusing on the synthetic humans; is that a good thing?

Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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On Hegel's Phenomenology of Spirit, Part C (AA) Reason, V. The Certainty and Truth of Reason. This section comes right after the self-consciousness sections, and so its big puzzle is why? Why is full recognition by another self-consciousness necessary for Reason, and consequently what is Hegel's conception of Reason?

Read along with us, on PDF p. 175, i.e. section 231.

You can choose to watch this on YouTube.

To get future parts, subscribe at ⁠⁠⁠patreon.com/closereadsphilosophy⁠⁠⁠.

Mark is joined by returning NEM guest Don Rauf (from Life In a Blender), singer/songwriter/cartoonist David Heatley), and writer/musician Dave "Diggy" Dawson aka Dave Philpott.

Is funny music necessarily less sincerely emotional, and so a failure at what music is supposed to do? We discuss rock star personas, ironic use of genre, humor in musical gesture, Zappa, Spinal Tap, and more.

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The co-author of the African run of the History of Philosophy Podcast (and new book) joins us to go over philosophical works from 2200-1400 BCE: "The Instruction of Ptahhotep," "The Instruction Addressed to King Merikare," "The Great Hymn to the Aten," "The Dispute Between a Man and His Ba," and "The Eloquent Peasant."

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In this famous, impossibly ancient (ca. 1900 BC!) Egyptian text, a man negotiations with the part of his soul that's supposed to help him in the afterlife. Can he kill himself now and still get all the benefits of an honorable death? His ba says no. Is this actually philosophy, or just a glimpse into the strangeness of a long-gone culture? You decide!

Read along with us.

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From Disputed Questions in De Anima (1269) as presented in Thomas Aquinas: Selected Philosophical Writings (Oxford 1993), "Passage 18: Soul in Human Beings."

The question is how Aquinas, as an Aristotelian who therefore thinks the mind is the form of the body, can agree with the Christian doctrine that the soul exists after death. The answer is surprisingly weird: The body-less soul is incomplete, so we'd need to have the end-of-times full-bodily-resurrection of all the good people in order to have a truly satisfactory heaven.

Read along with us. The Aristotle chapter from "De Anima" (Part III, Ch. 5) is here, PDF p. 41.

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Content at The Partially Examined Life (PEL) ran the gamut in October: from Emil Cioran’s dark aphorisms to Aquinas’s scholastic proofs, from dub producers to fake bands, and from improv’s joyful absurdity to Halloween’s macabre reflections. Below is a list of October content (in order of occurrence) you can revisit, or in case you missed it, enjoy for the first Continue Reading …

We're now moving on to the "mind" portion of our discussion, covering how reason motivates us, how free will is possible, and the degree to which the mind is passive or active.

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Mark and Mary are joined by improvisor-comedian-actress-filmmaker-host Vickie to talk about code switching and authenticity. Can you be authentic and still work a day job? Can Problem Solvers, Inc. solve the office restroom schedule? Are authentic hippies really beatniks? Also, displaying comic America on Korean talk shows, ethical pornography, commerce vs. art, granola in your hair, and more.

Vickie sticks around for a bit of post-game (usually restricted to supporters but shared with you this time), where we talk about the improv lessons and techniques from the episode and refresh what the point of this podcast is.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

It's a special two-hander where Mark and Lawrence reflect on the appeal of horror and how the new Monster: Ed Gein Netflix show has to contribute, given that it is not merely a (very loose) presentation of real events, and itself a horror drama, but also a commentary on the Hollywood properties influenced by the Ed Gein murders, including Psycho, The Texas Chainsaw Massacre, and Silence of the Lambs. We bring this up to date by including discussion of the Terrifier films as well as the work of Rob Zombie.

Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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Continuing on bits of Thomas Aquinas: Selected Philosophical Writings, completing our analysis of his arguments for the existence of God and then turning to eternity and the possibility of actually talking about God, given our finitude.

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Singer-songwriter-multi-instrumentalist Jonathan (currently based in Minneapolis) has been putting out indie rock solo albums since 1992, but has also ventured into traditional Finnish folk music and has multiple releases of tunes that I won't call Christian rock, but more rock that grapples with being someone who goes to church.

We discuss "Diner by the Train" (and listen at the end to "Evidence") from Waves (2025), "Home Unknown" from Look Up (2015), "Tape" from Recital (1997), and "Failing Rockstar Attempt" from Sound Theology (2000). Intro: "When I Get Bored" from 11 Years and 28 Days in the Yellow Room (1992) More at junathanrundman.com.

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On selections from Thomas Aquinas: Selected Philosophical Writings, mostly taken from the Summa Theologica (1268).

Given our flawed, finite human nature, how do we fit into the universe? In particular, how can we know and talk about things far beyond our experience such as God and eternity? In this part, we discuss arguments for the existence of God.

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On Leviathan (1651), ch. 21, "On the Liberty of Subjects." Thomas Hobbes is known for defending absolute monarchy, so as you'd predict, he's not going to say we have a lot of "natural" liberties.

We do always have the right to self-defense, but that doesn't mean that the sovereign can't with complete justice command you executed (even if you're innocent). Yet Hobbes wants to say that even under a repressive regime we all have lots of liberty, in the sense of no one physically stopping us from doing what we will. And he wants to dismiss as unintelligible any other sense of liberty tied to non-physical obstacles, so this entirely rules out any debate about free will.

Read along with us, starting on p. 161 (PDF p. 197).

You can choose to watch this on video.

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How does your body talk to you? Your favorite hosts-of-a-philosophy-and-improv-comedy show Mark Linsenmayer and Merry Mary Hynes re-connect after both being sick to get a bit Halloweeny so as to talk about various food-related monsters, experiencing art by disgraced creators, inner homunculi a la "Inside Out," movie talk, Nietzsche's nose fetish, and more.

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Mark, Lawrence, Sarahlyn, and Al watched Spinal Tap and its new sequel, and we throw these into a mix with K-Pop Demon Hunters and other films and shows involving made-for-TV (and film) bands, including We Are Lady Parts, That Thing You Do, Fear of a Black Hat, CB4, Atlanta, The Blues Brothers, The Commitments, Almost Famous, The Rutles, and The Monkees.

Get an ad-free experience, plus bonus talking for this and nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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Continuing on "Directions for Decomposition" from A Short History of Decay (1949). What is it that humans are inevitably trying to avoid that seems so bad to us? It's our existential separation from others, our essential, incommunicable solitude. Plus, ennui, sloth, and being a "traitor to existence."

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Adrian has applied his distinctive, spacey dub mixing techniques to numerous recordings since 1978 including Ministry, Nine Inch Nails, Lee "Scratch" Perry, Sinéad O'Connor, and Spoon and has released nine albums under his own name since 2003. He has effectively served as a key band member in several groups including Creation Rebel and African Head Charge. 

We discuss "Body Roll" from The Collapse of Everything (2025), "Starship Bahia" from Survival & Resistance (2012), and "Sharp as a Needle" by Barmy Army from The English Disease (1989). End song: "Make Up Your Mind" by Coldcut (Ninja Tunes), et al from Outside the Echo Chamber (2017). Intro: "Movement in Space" by Creation Rebel from Starship Africa (1980). More at adriansherwood.com.

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The clash between Eli Sunday and Daniel Plainview, between religion and industry, steeple and oil derrick, might come down to something like the difference between a gift and a skill. Eli calls himself a son of the hills of Little Boston, an inheritor of land and legacy, a member of a family, and of a faith imagined as a family. Daniel calls himself an oil man, but only after reciting his resume as proof that he’s earned the title. He tends flocks of derricks, not people, and he leases both land and family to strategic, rather than communal, ends. Yet ultimately, each lacks what the other has. What is a gift without control or discipline, a skill without purpose or meaning? And is there a difference between a gift and luck? Wes & Erin discuss Paul Thomas Anderson’s 2007 film “There Will Be Blood.”

On Aristotle's Physics, book 2, ch. 8 on "final causation," i.e. purposiveness as a natural explanation. Modern science doesn't much like this kind of explanation, but Aristotle found it essential, and here's his argument for it.

Mark's Partially Examined Life co-host Seth joins us (i.e. Mark and Mary) to introduce Seth to improv and continue introducing philosophy to Mary.

We discuss Seth's attraction to depressing texts, act out couples' therapy and monster beauty parlor, and open up a few philosophical cans of worms: Is truth relative? (Hint: no!) Does outer beauty reflect inner beauty?

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

On A Short History of Decay (1949), a pessimist/existentialist somewhat text from the most famous Romanian philosopher.

Cioran's short essays touch on art, humor, God, salvation, time, nostalgia, mourning, death, disease, suicide, revolt, freedom, Buddhism, Daoism, and the role of the philosopher.

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The Partially Examined Life was characteristically active in September, delving into many fascinating topics. In order of occurrence, here’s a list of September content you can revisit, or in case you missed it, enjoy for the first time. Ep. 374: Discussing Liberalism (Lincoln, et al) with Walter Sterling (Part Two)September 1, 2025The second half of a conversation on the roots and Continue Reading …

For our Emmys/back-to-school episode, we cover the pinnacle of the current network sitcom landscape: The six-time 2025 Emmy nominated Abbott Elementary, which is beginning its fifth season.

Mark, Lawrence, Al and West-Philly-resident Sarahlyn discuss the show's Philly-ness and how it integrates cringe humor with realistic depiction of how messed up it is for schools to be so underfunded. Is this a "black show"?

Get an ad-free experience, plus bonus talking for this and nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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Continuing on selections from this late Platonic dialogue. Starting in Book 4, Plato's characters are discussing how to create a new state ("Magnesia") from scratch. What sorts of laws should it have?

We talk about marriage laws, the nocturnal council, how the law is argued for that everyone has to believe in gods, and more.

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Eric was a major figure in the 1960s NYC folk scene, and his early tunes have been covered by Bob Dylan, Judy Collins, and many others. He's released 22 solo albums plus several live albums and two albums with The Band's Rick Danko as Danko/Fjeld/Andersen.

We discuss "Don't It Make You Wanna Sing the Blues" from Dance of Love and Death (2025), "Rain Falls Down in Amsterdam" from Memory of the Future (1998), and "Six Senses of Darkness" from Ghosts Upon the Road (1989). End song: "Time Run Like a Freight Train" from Stages: The Lost Album (recorded 1973). Intro: "Violets of Dawn" from 'Bout Changes and Things (1966). More at ericandersen.com.

Hear more Nakedly Examined Music. Support us on Patreon.

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On "The Concept of Enlightenment" (1944), the first essay in this Frankfurt School book of critical theory, The Dialectic of Enlightenment.

Our authors lay out what they take The Enlightenment to consist of, including some quotes from Francis Bacon, and some ultimately fatal tensions within it that make it no longer serve the humanistic purposes it was created for.

Read along with us on PDF p. 22.

You can choose to watch this on video.

To get future parts, subscribe at ⁠⁠⁠patreon.com/closereadsphilosophy⁠⁠⁠.

On this later dialogue presenting Plato's ideas about the character of laws in a just state. They should all be aimed at making people virtuous, and so should include education to this end. Each law should be equipped with a prelude presenting a rational argument for why people should obey it.

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It is a new era! Merry Mary Hynes is now Mark's co-host, and we do some improv related to that and feel our the degree to which Mary has not studied philosophy. Could it be that we ALL do philosophy whether we know it or not? Also: The Feminist Café, Luce Irigaray, Mark's voice training, an aging child pop star, non-binary preliminaries, gratis post-game chatter, and more.

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What do we expect out of a superhero film? Does it need overqualified dramatic actors? Does it even need a real budget?

Mark, Lawrence, Sarahlyn, and Al discuss the various films modeled after Marvel's Fantastic Four comics initiated by Stan Lee and Jack Kirby in 1961. First Steps is clearly the best of them and surpassed our low expectations, with its delivery of a believable family dynamic and a fun retro-futurist production design.

Get an ad-free experience, plus bonus talking for this and nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

In Ibsen’s “An Enemy of the People,” two conceptions of communal health do battle. Dr. Stockmann’s is progressive, focused as it is on the vitality of the young, their new ideas, and the possibility of growth into a better future, even if that means encroaching on the powers that be. His brother’s is conservative, focused on the use of authority and ascetic self-restraint to preserve existing achievements and ideas. But once in conflict, these conceptions seem to reveal themselves to be competing forms of elitism, and expressions of contempt respectively for both past and future. Wes & Erin discuss whether there is a more nuanced conception of the common good available to us, and how it might be related to the sudden turn at the end of the play to the the role of education.

Continuing on "Women on the Market" from The Sex Which Is Not One (1977) and other selections.

Irigaray gives a Marxist analysis of the commodification of women, addresses psychotherapists about their neglect of women's viewpoints, recommends wonder over objectification, and interprets Hegel's comments about Antigone.

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Discussing the section on Stoicism in Hegel's "Phenomenology of Spirit," which is under "Freedom of Self-Consciousness," "Stoicism, Scepticism, and the Unhappy Consciousness."

This comes right after his famous lordship and bondage chapter, and explains how in reaction to being defined by the gaze of another person, we assert our independence, but in an immature and ultimately unsustainable way. So this is not a very charitable take on Stoicism; he's just focusing on this assertion of freedom that's at the heart of the philosophy, and you can think yourself about the degree to which this pollutes more thoughtful, developed versions.

Follow along with us.

You can choose to watch this on video.

To get future parts, subscribe at ⁠⁠patreon.com/closereadsphilosophy⁠⁠.

On The Sex Which Is Not One (1977) and other Irigaray selections from the French Feminism Reader (2000), featuring guest Jenny Hansen (who wrote the introduction to the book chapter).

What role should sexual difference play in philosophy and society? Irigaray qua second-wave feminist claims that unleashing the feminine can and should transform philosophy, public policy, and relationships.

Check out the America Dissected podcast.

It's our season finale, and the end of Bill's regular participation on the show. You may wish to weep, but let your tears be of joy as well as reminiscence.

We are re-joined by two of our favorite improv guests for a Team Play episode to talk ship of Theseus, philosophy vs. mythology vs. video games, Renaissance contemporaries, long-lived turtles, "realist" morality, goodbyes, and our final boardroom scene.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

Maia has released ten lush, Americana-influenced singer-songwriter albums since 1997 and has collaborated with artists like Art Garfunkel, Bonnie Raitt, and Trisha Yearwood, and been covered by Cher, Paul Carrack, etc.

We discuss "Counterintuition" (and listen to the title track) from Tomboy (2025), "Phoenix" from The Dash Between the Dates (2015), and "A Home" from Fine Upstanding Citizen (2005) (co-written with her father Randy Sharp and popularized in a cover version by The Chicks). Intro: "I Need This to Be Love" from Hardly Glamour (1997). More at maiasharp.com.

Hear more Nakedly Examined Music. Support us on Patreon.

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What is the state of the stream-of-gags formula that used to stand tall in the films of the Zucker Brothers (mainly Airplane) and Mel Brooks? A new generation attempts to revive that with a new Naked Gun film. How does this new effort relate to the classic films?

Are these kinds of films particularly timeless? Rewatchable? Do young people appreciate this kind of thing? Mark, Lawrence, Sarahlyn, and (for the third or so) Al speculate wildly as usual.

Get an ad-free experience, plus bonus talking for this and nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

Continuing our discussion of the dangers to and weak points of liberal democracy, including consideration of Patrick Deneen's Why Liberalism Failed (2018) Francis Fukuyama's "Liberalism and Its Discontents" (his 2020 essay), and Steven Pinker's Enlightenment Now (2018).

What's the crisis of liberal democracy? Dylan, Wes and Seth are joined by St. John's College President J. Walter Sterling to discuss Abraham Lincoln's "On the Perpetuation of Our Political Institutions" (1838) plus the beginnings of Steven Pinker's Enlightenment Now (2018), Patrick Deneen's Why Liberalism Failed (2018), and Francis Fukuyama's "Liberalism and Its Discontents" (the 2020 essay).

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Enrollment is now open for Mark's online political philosophy course. See partiallyexaminedlife.com/class.

Nessa teaches philosophy at Lone Star Community College and writes on the philosophy of humor. We thought we should get this topic out before we wrap our season (and Bill's regular participation) and reach 100 episodes.

We go through the main theories (superiority, incongruity/surprise, unconscious triggering, i.e. funny because it's true on some level we don't necessarily want to admit). Then Nessa (fictionally) becomes our podcast format consultant. We wrap up by considering the appeal of various stand-up comedians.

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Concluding our treatment of Peter Railton's "Moral Realism" (1984).

This is our eighth discussion of this reading, but don't worry if you haven't listened to the paywalled parts. This discussion can serve as a standalone summary of not only Railton's view, but of our efforts to actually figure out what a plausible naturalistic, empirical account of ethics could amount to.

Read along with us, starting on PDF p. 42.

Get all of the parts of our treatment of this at patreon.com/closereadsphilosophy.

I bet you'd like to have an excuse to read some Aristotle, and Locke, Rousseau, Simone Weil, and other fun texts. Well, go read about this opportunity at partiallyexaminedlife.com/class, and then follow the link to enroll.

We’re never told exactly how Martin Brody ended up as sheriff of a small beach community, despite his fear of the water. But his ultimate confrontation with the water, and the shark that inhabits it, have a fateful character that seems to implicate his own internal conflicts. Oceanographer Matt Hooper tells Martin that sharks are attracted to the “exact kind of splashing” human beings produce when at play in the water, and Martin himself seems to be distinctively lacking in the capacity for relaxing and letting go. What is it about the activity of play that might be dangerous? How do we accommodate our impulses, relationships, and communal strivings, without being consumed by them? Wes & Erin discuss Stephen Spielberg’s 1975 classic “Jaws.”

In light of the new James Gunn film Superman, Mark, Lawrence, Sarahlyn, and Al talk about the character, his stories, and past films and shows.

Did Zack Snyder (Man of Steel) miss the point? Are the Richard Donner films (chiefly 1978's Superman: The Movie) as good as nostalgia would have us recall them? How does one write a convincing plot centered around a flawless, basically all-powerful hero? How should the Lex Luthor character fit in?

Get an ad-free experience, plus bonus talking for this and nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

Continuing on on Just and Unjust Wars (1977), ch. 5-6. When might it be morally permissible to strike first? When is it permissible (or obligatory?) to intervene in another country's internal affairs militarily? We discuss Walzer's historical examples and apply his theories to current wars.

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...OK, maybe not his ending, but it's a late career boost into overdrive: This 66-year-old has been making music since the '80s, but you're only going to find two of his releases on the streaming services right now, and only this new album (released 20 years after the previous one) has the polish to count as a world-conquering, professional release.

We discuss two songs from this new album Diner of Doubt: "My Dead Friend," and "I Have a Lotta Dreams," plus "Build Another One" (and the intro, "Chinese Lights") from Might Could Have (2004). End song: "Oh Dee Oh Oh" (2023). More at teetempleton.com.

Hear more Nakedly Examined Music. Support us on Patreon.

Sponsors: Visit functionhealth.com/NAKEDLY to take control of your health through testing and get $100 off your membership. Check out The 500 with Josh Adam Meyers for discussion of classic albums with cool guests.

Recorded back in June, posting now as we near the end of our season and Bill's tenure on the show, this episode now bleeds with dramatic irony. Mark and Bill discuss how to give a good speech, AI in academics, and we have a tear-stained visit to Empty Street.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

On Just and Unjust Wars: A Moral Argument With Illustrations (1977), ch. 4-6 on "jus ad bellum," which refers to moral justifications for going to war. Self-defense is permissible while aggression is not, but this leaves many questions unanswered, and Walzer gives us many historical examples to consider.

Sponsors: Visit functionhealth.com/PEL to get the data you need to take action for your health. Check out Richard Dawkins' The Poetry Of Reality Podcast at thepoetryofreality.com.

Enrollment is now open for Mark's online political philosophy course. See partiallyexaminedlife.com/class.

Purported the first summer blockbuster, Jaws has now hit 50 years, and so we discuss this wonderful early Spielberg film, its ill-conceived sequels, some of the making-of docs, and the legacy of shark/big carnivore films that it spawned. Is the film as flawless as it’s made out to be? Are the sequels as awful as typically described? Mark, Lawrence, Sarahlyn, Continue Reading …

Continuing on the 1785 course lecture notes by Georg Ludwig Collins. We cover duties to oneself, which are actually the most important ones. There are some interesting subtleties even though Kant is clearly a creature of his time and place, e.g. in his views of sexuality.

Sponsors: Visit functionhealth.com/PEL to get the data you need to take action for your health. Visit IDOU.com/PEL for 15% off online courses on using AI in creative, human-centered ways.

Learn about Mark's online political philosophy class at partiallyexaminedlife.com/class.

Nora Helmer begins Act I as a devoted wife to her respectable husband, Torvald, and a devoted mother to her young children. She ends Act III by walking out on all of them and closing the door behind her. The emotional distance covered in these three acts (representing a span of just a few days in the lives of the Helmers) makes Nora one of the greatest and most coveted acting challenges in the theater. How might we mark out a route between the Nora of Act I, the charming toy of the men in her life who seems to desire nothing more than the comfort and ease her husband’s recent promotion is set to provide, and the Nora of Act III, an independent woman willing to sacrifice everything in pursuit of her own self-determination? Wes & Erin discuss Henrik Ibsen’s “A Doll’s House.”

Loads of material was covered in the month of July here at The Partially Examined Life (PEL). With the month’s end, a summary look-back is in order. Here’s a list of July content you can revisit or, in case you missed it, enjoy for the first time. Closereads: H.A. Prichard on Ethics (Part One)July 2This episode covers H.A. Prichard’s 1912 Continue Reading …

New York singer-songwriter Willie has released sixteen albums since 1980. He has opened for The Who and Bruce Springsteen, among others, but rejected the major label life after his first two albums.

We discuss "An Irish Goodbye" (feat. Paul Brady) from The Great Yellow Light (2025) (and listen at the end to "Wake Up, America" feat. Steve Earle from that album), "Cell Phones Ringing (In the Pockets of the Dead)" from Streets of New York (2006), and the title track from Places I Have Never Been (1991). Intro: "Vagabond Moon" from Willie Nile (1980).

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What? Part Four? Yes, we're jumping back into a 1984 paper that we began a couple of years ago in light of our recent PEL activity on contemporary ethics. You should be fine just starting here, but all three previous parts have been made public on our Patreon page, which is where you'll eventually find parts 5, 6, and possibly more.

So far, Railton has been giving us an account of our objective individual interests: What you would want for your current you if you had all the relevant knowledge. He had given an example of a dehydrated person who wants and enjoys milk, even though milk does not help with dehydration in the way that water does. If he had the relevant knowledge, he would water. More precisely, he would want his current self in the state of dehydration to want water, because who knows what such an all-knowing person would even be like or what his wants for himself would be?

We're still picking at the complexities of this as we resume progress in this essay; it's not until the end of this hour that we can even predict where he's going in terms of setting up actual morality, beyond mere objective self-interest.

Read along with us, starting on PDF p. 15.

Get all parts of this reading at patreon.com/closereadsphilosophy.

We discuss lecture notes from Kant's 1785 ethics course, which provide more examples and an emphasis on the practical than his more famous works.

For instance, we get more information on ethical motivation: How can the rational recognition of ethical principles lead to moral feelings?

Sponsor: Visit functionhealth.com/PEL to get the data you need to take action for your health.

Learn about Mark's online political philosophy class at partiallyexaminedlife.com/class.

LA Second City improv instructor Mary joins us to act out a pet sitting job interview, talk about sharing our public spaces with animals, and finally return to Empty Street to see if we can get some animal action going in the mart.

In the post-game, we talk about Bill's new academic studies and Mark's upcoming Gen Con trip.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

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In light of the new film Ballerina, we discuss the John Wick franchise that kicked off in 2014 with four films plus a (bad) Peacock TV show. We also watched the recent documentary Wick Is Pain.

Mark, Lawrence, Sarahlyn and Al are joined by Brian Casey to mostly talk about the main four films in the series: They have a formula, but is that bad?

Get an ad-free experience, plus bonus talking for this and nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

Concluding our treatment of The Sources of Normativity. We give Korsgaard's tweaks to Kant, including her distinction between the categorical imperative and the moral law. We then explain her reference to Wittgenstein's private language argument in her argument that reason-giving, and hence morality, can't be merely self-referential.

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Learn about Mark's online political philosophy class at partiallyexaminedlife.com/class.

Not only is John a multi-instrumentalist who's played with Violent Femmes, Allen Ginsberg, Hal Willner, John Prine, et al, but he's released around 24 albums as a solo artist or with groups including the NYC world music outfit TriBeCaStan.

We discuss "(Be Careful What You Say to) An Armed Lady" by Folklorkestra from A Strange Day in June (2023), the title track from Forever Ago (with La Societe; del Musici) (2018), "Bed Bugs" by TriBeCaStan from New Deli (2012), and listen to "Back Country" by The Electric Chairmen from Toast (1995). Intro: "Grim Reaper’s Song" from Midnight Snack (1986). More at kruthworks.com.

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On lectures 3 and 4 of The Sources of Normativity (1996), where we get Korsgaard's positive view on how morality becomes obligatory for an individual, which has to do with identity, reason-giving, and our fundamentally social nature. And yet, her view is an interpretation of Kant!

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Learn about Mark's online political philosophy class at partiallyexaminedlife.com/class.

Mark Schiff is a legendary stand-up who currently podcasts with friend-of-PEL and philosophy enthusiast, Daniel Lobell as We Think It's Funny.

These gents join Mark and Bill to talk about stand-up vs. improv, comedy LPs, waterless urinals, bad press, the path to enlightenment, and how to get rid of syphilis. We run a scene on hiring entertainment for the company party, and engage in some riffs that can only be called improv.

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In immediate reaction to the Apple TV+ Seth Rogan show The Studio, we talk about Hollywood's obsession with itself and how studio dynamics interfere with what exactly we all get to see. Also, what's with the fascination with old Hollywood? What's the appeal of Hollywood gossip?

Erica our first-season co-host returns to join Mark, Lawrence, Sarahlyn, and Al.

For more, visit prettymuchpop.com. Hear this ad-free with bonus content at patreon.com/prettymuchpop or by subscribing via Apple Podcasts to the Mark Lintertainment Channel.

If you enjoy our show, check out the All the Right Movies podcast.

It’s Valentine’s Day in the state of Victoria, Australia in the year 1900. A group from a local girls’ school goes on an excursion to the foot of an eerie, vast geological formation called Hanging Rock. Three girls and one schoolteacher climb up to explore it. All but one are never seen again. This summary constitutes the essential plot but only the first act of Peter Weir’s 1975 film, based on the novel by Joan Lindsay. The remaining two acts concern the surviving characters’ struggle to make sense of what happened on the rock. Yet, sense is not what the film intends to deliver. Rather, it’s an anti-mystery that dismantles the nature of the mystery story itself—its love of solutions, its neat settling of the uncertainties that crime or menace introduce. What happens, this film asks, when an event resists the imposition of order, stands beyond the reach of logic or even language? Wes & Erin discuss “Picnic at Hanging Rock.”

We dive further into the text of lectures 1 and 2 of The Sources of Normativity (1996).

We give Korsgaard's account of the idea of reflective endorsement through Hume and Bernard Williams to get to her own view. When you come to know the origins of your moral sentiments, do you still stand behind them?

Learn more about Mark's fall online political philosophy class at partiallyexaminedlife.com/class.

Sponsor: Visit functionhealth.com/PEL to get the data you need to take action for your health.

This famed finger-style guitarist broke through with Jefferson Airplane's seven albums from 1966-1972, recorded eight with Hot Tuna 1970-1976 (with subsequent reunions by both bands), recorded his first solo album in 1974 and then 10 more from 1981-2025, and has collaborated with John Hurlburt, members of the Grateful Dead, and Janice Joplin.

We discuss "In My Dreams" from Ain't in No Hurry (2015), "Been So Long" from River of Time (2009), "Sleep Song" by Hot Tuna from America's Choice (1975). End song: "Hesitation Blues" from Reno Road: Unreleased Tracks from the 60s (1960). Intro: "Embryonic Journey" from Jefferson Airplane's Surrealistic Pillow (1967). More at jormakaukonen.com.

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If you enjoy our show, check out the All the Right Movies podcast.

On "Does Moral Philosophy Rest on a Mistake?" (1912). Prichard claims that we feel certain actions to be obligatory, and that we have no justification for doubting those raw intuitions. The situation, he claims, is comparable to epistemology: We have no grounds for doubting globally a la Descartes, but only in particular circumstances where science demands we should go back and check again, but more carefully.

Likewise, we can be wrong about particular moral judgments, but the process of refining them is just to put ourselves (really or imaginatively) in the ethical situation and gauge the intuitions more carefully. So the only legitimate task of moral philosophy is to establish that global doubt is not warranted, and to get us to observe our intuitions more carefully and discuss them with others.

Read along with us.

You can choose to watch this on video⁠. To get future parts, subscribe at ⁠patreon.com/closereadsphilosophy⁠.

On The Sources of Normativity (1996), lectures 1 and 2.

How are facts related to obligations? We don't want to merely explain our moral impulses, but justify them. Korsgaard walks us through the views of Hobbes, Hume, Bernard Williams and others to arrive at her own breed of Kantianism, which we'll lay out in ep. 371.

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Khafiz Kerimov and Nicholas Bellinson teach at St. John's College, and they channeled the educational style of that school into a new podcast called Invasive Thoughts.

They join Mark and Bill to talk (and act) about various educational technologies, teacher-student relations, circle-drawing competitions, the passivity of thinking, bad quotation use, and more.

Hear more at philosophyimprov.com. Support the podcast and listen ad-free at philosophyimprov.com/support.

Sponsors: Go to surfshark.com/improv or use code IMPROV at checkout to get 4 extra months of Surfshark VPN! Rid your home of mosquitos with the Bzigo Iris; visit bzigo.com/discount/BUZZ10 for 10% off.

On the eight-film action series that launched in 1996 (based on the 1966 TV series) in light of its apparently final film. Featuring Mark, Lawrence, Sarahlyn and Al.

Is this a coherent narrative as the last film would have you believe, or just an excuse for a series of Tom Cruise physically challenges? Maybe the latter is enough for us!

For more, visit prettymuchpop.com. Hear this ad-free with bonus content at patreon.com/prettymuchpop or by subscribing via Apple Podcasts to the Mark Lintertainment Channel.

Continuing on Natural Goodness, getting more into concrete cases of moral reasoning. How and why do we decide to keep promises, even in cases where violating them would produce more utility? How do we take into account different kinds of grounds in moral reasoning?

Sponsor: Visit IDOU.com/PEL for 15% off online courses on using AI in creative, human-centered ways.

On Derek Parfit's "Prudence, Morality, and the Prisoner's Dilemma" (1978). What is a "prisoner's dilemma" and what is its relevance to ethics? In general, it's better for me if I break norms so long as others in general follow them, but if we all try to be free riders in this way, then no one gets to ride at all. Parfit considers variations of this situation and lays out legislative and ideological/psychological strategies for addressing them.

Read along with us.

You can choose to watch this on video.

To get future parts, subscribe at ⁠patreon.com/closereadsphilosophy⁠.

Kolby runs After Dinner Conversations, which curates short stories about philosophy. He's also been a "producer" of improv shows.

We talk about what makes a story philosophical, Kolby tells some stories, and we run some scenes about teleporter shenanigans and guidance counseling.

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Chris has around 20 releases since 1991, mostly under his own name, while moonlighting as a metal guy and otherwise collaborating.

We discuss "She Looks Good in Black" from Obsolete Path (2025), "Intransitive Proverb" from Limitations of the Source Tape (2017), and "Angel Be Mine" from Your Own Chosen Speed (2001). End song: "Sisiphus" by Däng from Tartarus: The Darkest Realm (2014). Intro: "Every Time" by Flat Earth from Prefacipice (1991). More at chrischurch1.bandcamp.com

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Mark, Lawrence, Sarahlyn, and Al discuss Tony Gilroy's Star Wars Disney+ two-season TV show. Should this actually be a Star Wars show given how different in tone it was? The show adds meat (and banality!) to the evil of the Empire and the rough life of a rebel. We talk characters, themes, settings, and all that other literary stuff.

For more, visit prettymuchpop.com. Hear this ad-free with bonus content at patreon.com/prettymuchpop or by subscribing via Apple Podcasts to the Mark Lintertainment Channel.

On Natural Goodness (2001). Can we base ethics on the model of biology? Foot argues that just as we understand what a healthy specimen of a plant or animal is, so there is a natural way for humans to work properly, which will include the ability to will according to reflective reasoning.

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Yeats’s poem “Sailing to Byzantium” begins and ends with the concept of reproduction. In the first stanza, this reproduction is natural and sexual, and in the final stanza is entirely a matter of artifice. The living songbird is transformed into both product and producer, with a form of singing that is gilded by a consciousness of its departure from nature. Where natural reproduction replenishes entities that are neverthless always in the process of dying, art—the speaker seems to hope—is potentially eternal. And yet the poem’s final stanza also reminds us that art is ultimately for the living, and only as alive as its audience. Wes & Erin discuss Yeats’s meditation on whether creativity can help us transcend mortality, and how artists should conceive of their relationships to nature and posterity.

We conclude our discussion of A Treatise of Human Nature (1739): Book III, "Of Morals," plus a bit more discussion of An Enquiry Concerning the Principles of Morals (1751). 

How do moral sentiments fit into Hume's overall philosophy of mind? Is Hume a relativist? We talk about sociopaths, animals, incest, consent, ethics vs. beauty, moral luck, and more.

Sign up for Closereads at patreon.com/closereadsphilosophy to get previous and future installments of this podcast. On Spinoza’s Ethics, Third Part, “Concerning the Origin and Nature of the Emotions.” We want to see how emotions ground ethics, but first, we have to explain what emotions are, which means explaining how mind and body (and causality) work together on Spinoza’s account. A Continue Reading …

Shannon the philosopher and Audrey the poet are Seattle improv buddies that form a duo called Closer to Clarity that uses improv to answer audience members' big life questions (BLQs).

Hear philosophy and poetry face off and mind meld and do-si-do as we play through two wacky corporate office scenes and return once again to Empty Street™ for an attempted gas station poetry open mic.

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We talk a bit more about David Hume's An Enquiry Concerning the Principles of Morals (1751), and add some parts of A Treatise of Human Nature (1739): sec. 3 "Of the Influencing Motives of the Will" within the third part of Book II, "Of the Passions," and the first two sections of Book III, "Of Morals."

Can reason by itself motivate moral action? Hume says no: All ethical reasons must point ultimately to sentiments, which we can generalize about, but which are epistemically basic.

The tu quoque fallacy is a sneaky one. It can come and go before you know it. Strictly speaking, tu quoque means “you too.” It’s a lot like accusing someone of hypocrisy. The fallacious part comes a step a down the line when, through an accusation of hypocrisy, doubt is cast on the content of the claim. We ought to Continue Reading …

Mark, Lawrence, Sarahlyn, and Al discuss The Pitt and other medical dramas like ER, Gray's Anatomy, ad nauseam. 

Doctors and patients grappling with life and death stakes seems a strong premise for drama, but how many of these shows do we need? We talk about the gore, the pacing, the characters, the politics, and the other considerations that make The Pitt a great show (at this point).

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Bill released 8 albums from 1969-1977 with Sons of Champlin then moved to LA to become a solo artist and session musician, co-writing two Grammy-winning tunes. He was the designated soul singer in Chicago from 1981-2009 and released several solo albums starting in 1990 while continuing to collaborate widely.

We discuss "Alone" from Livin' for Love (2021), the title track from He Started to Sing (1995), and "Right On" by Sons of Champlin from Welcome to the Dance (1973). End song: "Plaid" by Chicago from Stone of Sisyphus (1992). Intro: "Please Hold On" from Chicago 17 (1984). Learn more at billchamplin.com.

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On the surface, “Rosemary’s Baby” is a horror film about a woman who gets taken advantage of by a satanic cult and impregnated by the Devil. In the end, it seems to be a satire on the competing entrapments of domesticity and ambition, and the boring conventionality of people who hope that opposition to convention will allow them to retrieve their lost youth. Wes & Erin discuss Roman Polanski’s 1968 classic, and why it is that Satanic evil, when confronted with life’s very frightening realities—including pregnancy itself—turns out to be so banal.

Continuing on An Enquiry Concerning the Principles of Morals (1751), talking about justice (i.e. property laws), why utility is pleasing and what all it includes, sympathy, utility vs. beauty, and more.

On David Hume's An Enquiry Concerning the Principles of Morals (1751). What is morality, and how can we know it?

Hume claims that we simply find ourselves with sentiments morally approving and disapproving of various things. Characterizing these post hoc, we can say that in general we approve of what brings utility, and this explains the existence of most laws and mores. These may vary by culture because conditions change the utility calculation in different environments.

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Luvell Anderson (Philosophy prof. at U of Illinois in Urbana-Champaign) joins Mark, Lawrence, Sarahlyn, and Al to discuss Ryan Coogler's new vampire siege/black studies film starring Michael B. Jordan. We talk about the film's comments on black freedom, black music, the church, why the film needed twins, whether the vampires were even necessary, the film's humor and structure, and more.

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Greg teaches philosophy (and is Interim Provost at Ashland, loves Xenophon, and runs a podcast. We reflect on the dangers of radon and other "natural" things. How might one of our government agencies become more natural, and would we want that? Are fart jokes the most naturally funny kind? Then, Greg the trucker visits Empty Street and embezzles dead mules.

Bill was thrust from the final portion of the call, so Mark and Greg engage in some philosophy podcast shop talk. He returns for the Post-Game after Greg's departure to reflect on the episode and specifically identify the naturalistic fallacy.

Continuing on The Problem of Empathy. What does it mean to say that we know other people's mental states "non-primordially"? We talk about Stein's project of explaining how empathy is possible, what it gets us, and how her answers differ from Scheler's.

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We discuss the HBO dramedy about rich people having existential crises at a luxury resort in light of its third season. What exactly made this latest season less satisfying than the others? Does the show have a sustainable formula? What is the show saying about enlightenment? Travel? Sexuality?

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On The Problem of Empathy (1917). What is empathy, and what is its significance?

Stein pictures empathy as a dynamic process that involves what Scheler called sympathy but goes beyond this. Your don't just take the other person's feeling as our object of contemplation, but in doing so, your enter into it (while still not confusing it with YOUR feeling), this relating to it "non-primordially." So how does this work, exactly?

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We conclude our treatment of Max Scheler's The Nature of Sympathy (1922), getting further into the Part II of the book about love and hatred and grappling with the puzzles about what exactly it is we love about someone (the "personality").

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On Ch. 6 "Formalism and Person," in Max Scheler's most famous work, Formalism in Ethics and Non-Formal Ethics of Values (1916).

Dean has released about 20 albums, starting with three '88-'90 with Galaxie 500, then he started fresh in New York as Luna, releasing seven albums and some EPs through 2005 (plus a later reunion), then continued with his Luna bassist and now spouse Britta Phillips as Dean and Britta for five albums, interspersed with now four albums under his own name and other miscellaneous projects.

We discuss "We're Not Finished Yet" (and listen at the end to "The Cloud Is Coming" from That's the Price of Loving Me (2025), "Love Is Colder Than Death" from Emancipated Hearts (2013), and "23 Minutes in Brussels" by Luna from Penthouse (1995). Intro: "Strange" by Galaxie 500 from On Fire (1989). More at deanwareham.com.

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Understanding logical fallacies is crucial to bringing order and discipline to our arguments. But fallacies are also the stock-in-trade of any keyboard warrior fighting it out in the online trenches. It can get tedious. “Fallacy bro” is a term used to pick out this annoying quality. The accusation of a fallacy often comes too quickly, or comes while missing a Continue Reading …

We watched the 4-part British crime series that's become #1 in 80 countries, breaking Netflix's records for an original series. And man, was it a bummer. But important!

We reflect on the purpose of the show, its one-take-per-episode format, the choice of whose perspectives to show, the crazy good acting by such a young person, and we get a little education about incel culture. How have things changed since we were kids?

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On The Nature of Sympathy (1922), Part II: "Love and Hatred." What is love, and how does it relate to ethics and to sympathy?

For Scheler, love is a primitive, spontaneous movement from lower to higher values: We see the best in the love one and thereby help enable them to attain that excellence. So is love foundational for value, or is value foundational for love? The two seem to arise together.

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Mark, Wes, and Dylan reconvened for one more hour on Part I, "Fellow Feeling" (ch. 3-4) in The Nature of Sympathy (1913/1922).

We continue to try to figure out the razor's edge of "fellow feeling proper" that does not rely on the sympathizer identifying in any way and look into psychological and metaphysical ways that people can identify with others.

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Mark and Bill are joined by the actor/improviser who directs Camp Improv Utopia and is involved in managing improv spaces such as Denver's Rise Comedy. We talk about the notion of community, with a scene about the neighborhood watch and a return to Empty Street to deal seriously in a public-service-announcement/after-school special sort of way with the issue of buying liquor underage.

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Mark, Lawrence, Sarahlyn and Al here discuss the sci-fi/office dramedy in light of its second season. We might normally wait until the end of the show, but given that season 1 was 2022, and it took three years to get us season 2, who knows it it'll actually finish? And who knows if it will not be massively disappointing at that point? We strike while the show is culturally relevant!

But did even this season measure up to its phenomenal premise and first season? There are so many juicy plot and character elements on this show that we can't possibly fit them all in.

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Continuing on The Nature of Sympathy (1913/1922), Part I: "Fellow Feeling," Ch. 1-4. We look more closely at the text, getting further into how fellow feeling relates to ethics, and why the moral sentimentalists (like Hume) were wrong about this.

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Peter recorded with Chris Stamey as early as 1972, and they reconvened as The dB's in the '80s. Peter has released six albums as the dB's, three more as a duo with Chris, four co-fronting the Continental Drifters, and three solo albums. He has also been a supporting/touring member in several bands including REM, Hootie and the Blowfish, and currently The Paranoid Style.

We discuss "Larger Than Life" from his new solo album The Face of 68), "Don’t Mention the War" from Game Day (2018), and "She Won’t Drive in the Rain" by The Db’s from their reunion album Falling off the Sky (2012). We conclude by listening to "Where Does the Time Go" by Continental Drivers from Better Day (2001). Intro: "Amplifier" by The Db’s from Repercussion (1981). More info at halfpearblog.blogspot.com.

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If only because of its seeming incongruity with a brain “wider than the sky,” the central fact of Emily Dickinson’s life has become her seclusion. As she wrote to Thomas Wentworth Higginson in 1869, “I do not cross my Father’s ground to any House or town.” Like the relatively modest dimensions of her poems, this self-imposed constraint—of the property line within Amherst, Massachusetts, then the Dickinson home itself, then her bedroom—proved no barrier to a cosmic poetic imagination which “went out upon circumference,” and to which no subject, tone, or emotion was foreign. Erin & Wes discuss four of Dickinson’s best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine: numbers 340, 372, 320, and 477.

On The Nature of Sympathy (1913, expanded 1922), Part I: "Fellow Feeling," Ch. 1-4. 

What is it to feel sympathy (aka "fellow feeling") for another person? It is NOT to "identify" with that person; ethics requires that the person be irreducibly Other, not part of my (extended) ego.

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Mark and Bill introduce a new potential setting and some characters for ongoing use in future improvisations. We talk about techniques for doing that and wrap up by getting an update from Bill on his substitute teaching and talking about what makes for a good teacher.

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Continuing on "The Origin of the Knowledge of Right and Wrong" (1889), getting into how we measure the comparative value of things. While Brentano does observe actual practices in these areas, his phenomenology detects moral facts that can be used to cast judgments of people's actual practices, saving him from relativism.

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We acknowledge this hugely popular form of "entertainment" recently embodied by The Baldwins, but popularized by shows like The Osbournes and The Kardashians, wherein some celebrity and/or family just shows off their life, Mark, Lawrence, Sarahlyn and Al are joined by returning guest Kayla Dryesse to talk about why this kind of show exists, its variations, and its redeeming value (if any). Is The Baldwins basically just a lengthy Instagram post?

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Alfred Hitchcock’s first American film—part love story, part ghost story, part courtroom melodrama—centers on a poor, timid young woman who falls in love with wealthy aristocrat Maxim de Winter, a widower tortured over the death of his first wife. When the young woman becomes the second Mrs. De Winter and moves into Maxim’s estate, she finds her predecessor’s initials stamped all over the house, and its staff in thrall to her beautiful, vibrant memory. But at the heart of the first Mrs. De Winter’s legacy lies a rot, and just what that rot represents in the film—be it the oppressions of vitality and ambition, the wages of class mobility, the unruly desires of sexuality, or the latent evidence of civilizational decline—is our subject today. Wes & Erin discuss the 1940 Best Picture winner “Rebecca,” starring Joan Fontaine and Laurence Olivier.

On "The Origin of the Knowledge of Right and Wrong" (1889). What justifies basic moral facts? Brentano claims that right there in our experience, we can rationally sense with complete certainty that certain kinds of preferences are good ones, and others are not. This take on intuitionism is a response to Kant that (like Kant) cuts between the traditional epistemic categories of rationalism and empiricism, and Brentano's descriptive psychology kicked off the whole project of phenomenology.

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In his poem “You Who Never Arrived,” Rainer Maria Rilke suggests that we can mourn love as an unrealized possibility, and see this loss signified everywhere in the ordinary objects of the external world. In “Be Ahead of All Parting” (II.13 from his “Sonnets to Orpheus”), he seems to claim that poetry has the capacity to redeem such losses—and retrieve them, so to speak, from their underworld. Wes & Erin discuss these two classics, and whether—as Rilke suggests—death can be put in service of life, and suffering sourced as the principal wellspring of a joyful existence.

Continuing on Ecclesiastes with guest Jesse Peterson, getting into some more close reading of particular sections. We make some connection from the author's observations to ancient Greek Skepticism, Epicureanism, and Stoicism. How is the world "absurd" according to this book?

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Are we taking for granted this unique, talent-filled weekly nationally televised live comedy event that’s been around for 50 years? (as in “What do we think this show is? Chopped liver?”) Does its format even make sense at this time given YouTube and streaming? What will its legacy be? Mark, Lawrence, Sarahlyn, and Al discuss the casts, highlights, and the Continue Reading …

JR has drummed on over 200 US Billboard Hot 100 songs and 50 Grammy winning tunes. He was in Rufus w/ Chaka Khan in the late 70s/early 80s, has released two solo albums, written for soundtracks, produced other artists, and has led various combos over the years. He is currently promoting his auto-biography King of the Groove.

We discuss "Gonna Be Alright" from The Bronx, USA soundtrack (2020), "Flight 81" from his first solo album, Funkshui (2004), and "You're Really Out of Line" by Rufus from Seal in Red (1983). End song: "Tal Shia" by SRT from Vanguards of Groove (2023). Intro: "Higher Love" by Steve Winwood (1986). More at johnjrrobinson.com.

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Ecclesiastes is often cited as one of the most philosophical books of the Bible, so we approached it in that spirit with the help of Jesse M. Peterson, whose soon-to-be-published book is called Qoheleth and the Philosophy of Value.

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Mark, Lawrence, Sarahlyn and Al discuss the Coralie Fargeat/Demi Moore film The Substance in light of its Oscar nominations, along with related reflections on lost youth, e.g. Sunset Boulevard (1950), Death Becomes Her (1992), and Neon Demon (2016). We also touch on other cloning scenarios.

Is this film a serious meditation on aging in Hollywood, or just a particularly vivid but logically confused Twilight Zone episode? Is the message of this film already itself past its prime?

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Mark and Bill are joined by two north-of-the-border podcasters, Shawn Vulliez and Aaron Moritz, who incorporate both improv and philosophy in their dirty leftist podcast.

We simulate conversation as competing knowers-of-the-good-life and talk about using improv for political purposes. Note that this was recorded back in December when we were in the thick of Luigi Mangione fever and not yet consumed with daily Presidential antics.

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On "Fragment on Machines" (1858). Shouldn't automating work free workers? Not according to Marx, until capitalism is overthrown. Until then, automation actually just makes labor conditions worse and certainly doesn't give people more free time, since the capitalist keeps all the surplus gained by greater productivity.

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Mark and Wes read through and discuss the beginning of Felix Guattari's "Everybody Wants to Be a Fascist" (1973). Guattari was a Lacanian psychotherapist, and he argues for explaining fascist tendencies via a "micropolitics of desire," i.e. looking at the individual psychology of fascism instead of merely focusing on sociological, material causes of the rise of fascism.

We finish our treatment of Capital, Ch. 1, covering the little bit that Marx says about actual communism (he was wary of utopianism, contra his reputation), and think through a number of related practical problems. We introduce "Fragment on Machines" (1858).

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Django is a singer/songwriter/guitarist who released his first solo album in 1996 and has released seven albums with The Old Ceremony since 2004 plus several more solo releases.

We discuss The Old Ceremony songs "Too Big to Fail" (and listen to "Hangman's Party at the end) from Earthbound (2024), "The Disappear" from Walk On Thin Air (2009), and "Reservations" from Our One Mistake (2006). Intro: "Beautiful" from Folding Stars (1996). More at theoldceremony.com.

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In light of the recent release of the James Mangold film A Complete Unknown, Mark, Lawrence, Sarahlyn, and Dylan superfan Al discuss the man, the myth, and the music.

The film clearly aimed to make the music, environment, and political activity of the '60s come alive today, but does the simplification required to make a coherent film undermine that goal? We also touch on his Chronicles, plus I'm Not There and other Dylan-related films.

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It begins with the “stupidest song ever written,” as Robert Altman called it, and ends with a self-referential jab at the very idea of finding comic relief in the tragedy of war. But it is equally unserious, the film “M.A.S.H” seem to suggest, to take seriously the authority of war-making institutions, and their pretense to putting violence in service of an ideal. And so morality succumbs to mockery, love to hedonism, and military rank to the form of authority immanent in the power to save lives. Yet suicide is not in fact painless, if it means robbing others of our presence, or ridding ourselves of the capacities for grief and earnestness. Wes & Erin discuss the 1970 classic “M.A.S.H,” and whether irony ought always to be our anesthetic, when confronted with traumas that are otherwise unspeakable.

Continuing on Capital, Ch. 1 on commodities. We go into detail on his account of how money gets derived from the continued comparison of various commodities, how use value comes back into play when we compare the economic value of one commodity as compared to another, and finally, the details of commodity fetishism.

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On Capital (1867), Ch. 1, "The Commodity."

What makes something we buy or sell valuable? Marx says it's ultimately the labor that goes into it, though there are some wrinkles in formulating this accurately, and the commodities and surrounding marketplace activity blind us to labor's role and its ethical import.

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Mark and Wes read through and discuss Karl Marx's The German Ideology (1846), delving deep into the middle of his critique of Max Stirner's The Ego and Its Own. Marx articulates and criticizes Stirner's attempt to distinguish the mere common egoism of an unthinking person from the enlightened egoism that Stirner is recommending.

Randy is a literature guy who has written a couple of books about improv and here joins Mark and Bill to talk about WINGING IT: Improv's Power and Peril in the Age of Trump, wherein he basically blames improv for giving us the orange man. Our scenes are about Trumpers hustling a fast food joint and improv for dogs.

Mark and Bill stick around for some post-game bringing in yet another metaphor: music and its stylistic development.

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In light of Robert Eggers' film Nosferatu and the end of What We Do in Shadows, Mark, Lawrence, Sarahlyn, and Al discuss the many vampire shows and films all the way back to Bram Stoker's 1897 novel.

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We continue on the introduction to Marx's Grundrisse, going through his criticisms of prior economists who were too ahistorical and didn't understand how production, consumption, distribution and exchange hang together as a single system.

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On the intro to Marx's Grundrisse (1857) and "Theses on Feuerbach" (1845). Why economics, and why do it the way Marx does? We see Marx argues that Feuerbach's materialism was not materialistic enough, start looking at production, consumption, distribution, and exchange as moments within a single process, and talk about why anyone would want to read a historical economic text.

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Continuing on The Ego and Its Own, focusing now on the sections "The Owner" and "My Power." Stirner lets us know that his egoism ("ownness") is not compatible with liberal egalitarianism, which he sees as just a continuation of the Christian project of perfecting humanity.

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Of all the great American Modernists, the poetry of Marianne Moore is perhaps the most idiosyncratic, even the most radical, of them all—no small feat in a group of friends and admirers that included Ezra Pound, T. S. Eliot, Wallace Stevens, William Carlos Williams, e. e. cummings, and HD. Moore’s preferred form was a syllabic stanza bespoke to each poetic occasion, like the unique shell of each individual snail or paper nautilus, and often containing rhyme. In these stanzas, Moore hid behind her virtuosic performance of deflection and difficulty and, of course, revealed herself in it, much as one of her pet-subjects, the exotic animal-portrait, contained a self-portrait at its heart. In her poem on the jerboa, Moore contrasts the desert mouse’s decorousness with the decadence of empire, and in so doing, distinguishes her ideal of true artistry—a vigorous, humble, and ultimately liberated response to one’s natural and formal limitations—with a false art which oppresses the natural in service of the powerful. Wes & Erin discuss Marianne Moore’s poem, “The Jerboa,” first published in 1932, and whether power and wealth might paradoxically prove less abundant than the strictures of form and necessity.

Iain started in Britain's Fairport Convention in the late '60s, but quickly left that band to start a couple more and then move to the US for a lengthy solo career. He has in total released close to 50 albums, including many collaborations.

We discus the title track from How Much Is Enough (2024), the title track from God Looked Down (1996), and "Road to Ronderlin" by Matthews Southern Comfort from Later That Same Year (1970). End song: "St. Theresa's Ghost" by Ian Matthews and the Searing Quartet, from Joy Mining (2008). Intro: "Book Song" by Fairport Convention from What We Did on Our Holidays (1969). Learn more at iainmatthews.nl.

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On The Ego and its Own (1844), another big influence on Karl Marx and a precursor of Nietzsche, or perhaps an early Ayn Rand.

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When the film starts, its two leads are already dead, more or less. Silent Screen legend Norma Desmond’s career is dead, and because she’s nothing more than her career, the best she can do is linger in the tomb of her former glory, hoping for a resurrection. And failed screenwriter Joe Gillis quite literally enters the film as a corpse, so, as the film’s narrator, he has no choice but to tell his story in flashback. Thus, it’s safe to say that both Norma and Joe are, well, fatally disadvantaged in the realization of their respective dreams. And yet, both achieve a kind of post-mortem success—Norma as the star of one last film, and Joe as the writer of one last, great, highly-personal tale. (In an expression of what might be the screenwriter’s secret fantasy, he even gets to star in it, to boot.) How is such life after death possible? Arguably only through the magic of celluloid, a medium ghoulishly capable of preserving humans precisely as they are—which all too soon becomes as they were. What can the contrast between silent and talking pictures teach us about the nature of film itself? And how might it reflect the age-old rivalries between word and image, movement and stasis, the living and the dead? Wes & Erin discuss Billy Wilder’s 1950 masterpiece, “Sunset Boulevard.”

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Mark, Wes, Seth, and Dylan reflect on our past year of PEL recording, catch you up on our habits and interests, and talk about what might come next.

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Sign up for Closereads at patreon.com/closereadsphilosophy to get future parts on this reading, as well as our previous and future installments of this podcast. Mark and Wes read through and discuss Edmund Husserl’s Ideas (1913), ch. 1, “Matter of Fact and Essence” in First Book, “General Introduction to a Pure Phenomenology,” Part One, “Essence and Eidetic Cognition.” This is the book Continue Reading …

For our annual holiday episode, Mark, Lawrence, Sarahlyn and Al talk about Santa qua mythical and cultural figure, getting into the history of the character, his film appearances, and how the emphasis on kids' belief compares to religious belief. Plus, grading Xmas movies on a curve and Black Santa!

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Simon is a professor at New York's New School for Social Research and moderates the New York Times' philosophy offering, The Stone. He joins Mark and Bill to discuss his new book, On Mysticism: The Experience of Ecstasy, and we used the occasion to explore how art and mysticism might be connected, including engaging in improv rituals.

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We finally discuss Feuerbach's proposed post-Hegelian, materialist approach to philosophy in his "Principles of the Philosophy of the Future" (1843). How can a materialist framework support phenomena central to F's account like our immediate, indubitable recognition of our selves, each other, and love itself?

Where the repetitions of ordinary life threaten to overwhelm any sense of the sublime, the poet Conrad Aiken seems to suggest that they can be transformed into a way of being connected to it. The mundane order is, after all, just a part of the cosmic. When we get ready to go to work, it is on a “swiftly tilting planet” that “bathes in a flame of space.” The sun is “far off in a shell of silence,” but its light decorates the walls of our homes. We might wonder, in light of modernity’s crisis of faith, if the sublime is meant to replace the divine, and if so whether what Aiken calls “humble offerings” to a “cloud of silence” are enough. Wes & Erin discuss Aiken’s “Morning Song of Senlin,” and whether humanity’s religious impulses can be fully compensated with an aesthetic or ironic relation to nature and cosmic scale.

Mark, Wes, and Dylan continue to look at Ludwig Feuerbach's "Principles of the Philosophy of the Future" (1843), recounting his story about how increasingly mature notions of God should lead philosophy eventually to a materialism where the sensual is the real.

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Learn about Mark's spring Core Texts in philosophy class at partiallyexaminedlife.com/class. Buy the PEL book for someone cool at partiallyexaminedlife.com/book.

Loudon has released 30 albums since 1970. He's the quintessential singer-songwriter, relying on crafty, personal lyrics delivered dynamically and typically solo, though his studio work has varied in production style and orchestration level over the years.

We discuss "How Old is 75" from Lifetime Achievement (2022), "Road Ode (Live)" from Career Moves (1993), and "Be Careful There’s a Baby in the House" from Album II (1971). We wrap up by listening to "Missing You" from Last Man on Earth (2001). Intro: "The Swimming Song" from Attempted Mustache (1973). Learn more at lw3.com.

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We're coming up on the 125th anniversary of L. Frank Baum's children's book, The Wizard of Oz, and the film version of (the first half of) the musical Wicked has been released. Mark, Lawrence, Sarahlyn and Al talk about the landmark 1939 film musical, the 1978 film The Wiz, Gregory Maguire's 1995 novel Wicked, the stage musical, the other Oz books by Baum, Maguire, et al, and other films like 1985's Return to Oz and 2013's Oz the Great and Powerful.

How does this film stack up to other recent Broadway-to-film adaptations? Will there ever be a faithful film or TV adaptation of the books?

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We dig in and start our detailed treatment of Ludwig Feuerbach's essay "Principles of the Philosophy of the Future" (1843).

Feuerbach claims that people don't realize that the entity they worship is really just whatever it is about humanity and the world that we value, wrongly posited as an independent entity. So God is a mirror for any given society.

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It's a TEAM PLAY episode just in time for the holiday season! Returning guests improviser and podcaster Sarah and recovering Philosophy Bro Tommy join Mark and Bill to talk AND EXPERIENCE friendship, with our longest single improv scene to date. What is friendship? Do you know your friends enough to imitate them? Does one friendship or fast-casual restaurant have to die so that another may emerge? 

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We're discussing John Stuart Mill's A System of Logic (1843), specifically from Book III, "Of Induction," ch. 8, "Of the Four Methods of Experimental Inquiry."

I am prepared once again to teach my Core Texts in Philosophy class to a new crop of students (returning students are of course also welcome!). But I need to know when you all are available, so please go read about it and email me your availability per the instructions.

On Ludwig Feuerbach's "Principles of the Philosophy of the Future" (1843) and the introduction to The Essence of Christianity (1841).

What was the original point of religion? Can we retain what was emotionally good about it yet direct our efforts to purely practical matters? Feuerbach says yes, and this was a key influence on Marx.

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Adam and Barbara Maitland are dead, but their troubles have just begun. The farmhouse decor of their home is under threat from the pretentious modernism of Delia Deetze, and her plan to remake it in her own image could turn their post-life purgatory into earthbound hell. Solving this problem leaves them with an impossible choice between figuring out how to navigate an intractable netherworld bureacracy, or seeking the help of a renegade demon whose perverse remedies are worse than what they’re supposed to cure. Their way out of this impasse involves teaming up with Delia’s step-daughter Lydia, whose goth style seems to lend itself to communicating with the dead. Wes and Erin discuss “Beetlejuice,” and what its battle royale between conflicting aesthetic sensibilities—rustic, gothic, and avante-garde—has to say about the connections between love, mortality, and the many pitfalls of growing up.

Steve Martin was the biggest comic celebrity in the late '70s, became a huge movie star, and now delivers gentle comedy and fast banjo licks according to his desired rich guy schedule. In light of the popularity of Only Murders in the Building, we consider his many talents. Our 50ish hosts Mark and Sarahlyn are all in on this guy, but our 40ish hosts Lawrence and Al are not necessarily tickled.

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Continuing on "Estranged Labor," "Private Property and Communism," and "The Power of Money on Bourgeois Society" with guest Lawrence Dallman.

Does capitalism give rise to alienation, or is it alienation that is responsible for capitalism? Does a person (capitalist) have to be responsible for someone's alienation? What would we be like unalienated?

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Mike hosts the Hitchhikers and Appetizers podcast, and we recorded this episode a bit before Halloween, before the election and the consequent mass exodus, as a sort of memo to the future, i.e. you. We blister our way through many topics including discovery, hospital dramas, time travel sex, self-experimentation, ancient aliens, sharkNATO, Flintstone furniture, the first Wisconsin Thanksgiving, Subway nation-states, and more.

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As an advisor to Henry VIII and ambassador to France and Italy, poet Thomas Wyatt was something of a professional court-surfer, practiced in riding the peaks and troughs of royal favor. Such were his verbal and diplomatic gifts that, though twice accused of and imprisoned for treason, he was twice released. His poetry reflects all the intrigue, paranoia, airlessness, and downright cruelty of the Tudor Court, where a misplaced word or an ill-timed look might see you not just out of favor, but a head shorter. In two of his most celebrated poems—which might draw upon the affair he might have had with Anne Boleyn—certainty is suspect, irony thick, allegiance changeable, and hunters apt to find they’ve become the hunted. Wes & Erin discuss Thomas Wyatt’s “Whoso List to Hunt” and “They Flee from Me.”

On three of Karl Marx's Economic and Philosophic Manuscripts of 1844, "Estranged Labor," "Private Property and Communism," and "The Power of Money on Bourgeois Society." Featuring guest Lawrence Dallman.

What is the plight of the working poor? It's that they are in an unnatural situation with regard to their work, which is supposed to gain them a sense of self but doesn't do so when it's a result of selling one's time.

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We continue talking with Tim about Overfitting and Heuristics in Philosophy (2024), considering Tim's overall project and view of what philosophy should be doing and with what tools. We get into modeling, ethics, public philosophy, and more.

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Many people use shows like Last Week Tonight or The Daily Show to not just satirize the news but to provide us with our news. Late night shows, SNL, and many other shows get in on this, and conservative media is catching up via Gutfield! How does the comedy news format relate to panel shows, podcasts, and other light-hearted political talk?

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We skip the introduction of Being and Nothingness (1943) and start with Part One, "The Problem of Nothingness," Ch. 1, "The Origin of Negation."

Lorraine teaches at Middlebury college and has recently written The Art of the Interesting: What We Miss in Our Pursuit of the Good Life and How to Cultivate It. How does "the interesting" fit into human flourishing? How do we know when some attractive stimulation is really in our interest and really good?

Can we find something interesting even the most tedious, repetitive tasks? Is it interesting to start an improv scene by declaring that your scene-mates are dealing with alcoholism and divorce? Certainly it is rude. Also, Happiness 12 Step Programs.

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You can choose to watch this on unedited video.

Oxford philosophy professor Timothy Williamson talks to us about his new book, Overfitting and Heuristics in Philosophy.

How can we best apply the insights of philosophy of science to philosophy itself? Maybe some alleged philosophical counter-examples are just the result of psychological heuristics gone wrong.

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Steve fronted Chicago's Dolly Varden for six albums from the '90s through 2013. He also started releasing albums under his own name 2003 and has just released his seventh.

We discuss "A Mile South of Town" (and listen at the end to "Oh, California") from Ghosts (2024), the title track from The Dumbest Magnets by Dolly Varden (2000), and "Bronko Nagurski," a 1989 recording by the early iteration of Varden, Stump the Host. Intro: "Saskatchewan to Chicago" by Dolly Varden from For a While (2013). More at stevedawsonmusic.com.

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Concluding our treatment of "Of Seeing" in Inquiry into the Human Mind on the Principles of Common Sense.

We continue to hammer at this idea of "resemblance" between mental contents and physical objects, consider more carefully Reid's level of support for the primary/secondary quality distinction, how he treats non-signifying feelings like pain and warmth, and his comparison of sense experience to testimony.

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Henry Graham belongs to the most exclusive clubs, dines regularly at the most lavish restaurants, drives a Ferrari, employs a butler, and owns something called a Montrazini—in short, he capitalizes fully on his inheritance, despite having little understanding of what “capital” actually is. The very ignorance of practicality that his wealth affords turns out to be his undoing, as soon finds that he’s run out of money and must bid goodbye to the high life—unless, that is, he can find a single, wealthy, isolated woman to marry and, for the sake of preserving his refined, hermetically-sealed existence, murder. Enter Henrietta Lowell. Similarly stunted by her own inheritance, she’s friendless, awkward, and utterly helpless: the perfect mark… But Henry soon discovers that protecting his own interests also means protecting hers, that competence can grow out of the exigency incompetence creates, and that practicing love for someone turns out to be just as good as actually loving them. Wes & Erin discuss the 1971 film “A New Leaf,” written and directed by Elaine May.

It's our Halloween episode! Brooker Nourse from the Autopsy of a Horror Movie podcast joins the gang about a wave of 1930's films including Dracula, Frankenstein, and The Invisible Man. Are these actually enjoyable to modern audiences?

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We're continuing our treatment of Thomas Reid's Inquiry into the Human Mind on the Principles of Common Sense (1764), now discussing ch. 6: "Of Seeing."

Does vision provide the exception to Reid's point that our sensations do not resemble objects in the world? Images surely seem to do so! What does this mean for Reid's epistemology?

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Welcome to the beginning of a new round of shenanigans on Philosophy vs. Improv. Let the senior slump begin!

Your hosts Mark Linsenmayer and Bill Arnett here talk a blazin' stream of consciousness and then have a pretty long improv scene. Are we already always philosophizing?

Watch the proceedings unedited on YouTube.

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In light of the new Beetlejuice Beetlejuice, we discuss the films of director (and occasional writer) Tim Burton since his career was firmly established by his early work in the '80s including the original 1988 Beetlejuice. 

Mark, Lawrence, Sarahlyn, and Al have very mixed reactions to the new film, but we agree that the animation style that characterizes his vision is very rich and has had a massive cultural impact. We discuss his stop-motion work, his Batman films, his Disney commissions, and more.

For more, visit prettymuchpop.com. Hear bonus content at patreon.com/prettymuchpop or by subscribing via Apple Podcasts to the Mark Lintertainment Channel.

Continuing on Inquiry into the Human Mind, getting further into the chapter on smelling as well as the conclusion and Reid's exchange with Hume.

What exactly is our relation with objects in the world according to Reid?

On Inquiry into the Human Mind on the Principles of Common Sense (1764): the introduction, conclusion, ch. 2 "Of Smelling" ch. 4 "Of Hearing," and some correspondence between Reid and Hume.

According to Reid, the big mistake of "modern" philosophy is thinking that objects in the world need to resemble the sensations we have of them. Smelling is supposed to give us an obvious counter-example: the scent of a rose in no way resembles a physical rose.

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Mark, Seth, and Dylan interview this British philosophy prof about her new book, Trans Figured, and philosophy's role in discussing the phenomena of transgender (which, yes, can be used as a noun, according to Sophie).

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Though Dale is known as the long-time drummer for Washington sludge-metal band Melvins ('88-present), he's also a guitarist and singer who led the band Altamont though four alternative rock albums ('97-'05) and has now released his third full-length, stylistically varied solo album.

We discuss "I Quit" from Glossolalia (2024), "Bad Move" from The Fickle Finger of Fate (2017), and "The Bit" by Melvins from Stag (1996). End song: "El Stupido" by Altamont from The Monkees' Uncle (2005). Intro: "Spread Eagle Beagle" by Melvins from Houdini (1993). More at dalecrover.com.

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Concluding on "Universality and Truth" from Richard Rorty's Pragmatism As Anti-Authoritarianism. It it coherent to simply not have a theory of truth? Rorty claims that he's not a relativist; he's just avoiding some useless parts of philosophy that just cause problems, including inculcating the respect for a non-human absolute, and this attitude undermines democracy.

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Chicago's iO Theater was graced on August 21 by Mark, Bill, and special guest theater educator James Whittington, who spoke about embodiment (see Maurice Merleau-Ponty), the possible disconnect between meaning and tone, and being in the physical presence of greatness. They acted out scenes (while still sitting!) about an unsuccessful party and Experiences-R-Us. 

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In light of the new film Trap, we look at this writer/director's oeuvre. Was he a bright light (The Sixth Sense) that at one point went out (certainly by The Happening), and has that light gone back on as he's regained full control in his most recent films (Knock at the Cabin, The Visit, et al.)? Is he a genius, overrated, or somehow both? 

Mark, Lawrence, Sarahlyn and Al disagree both about Trap and about the overall Shyamalan experience. 

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On "Universality and Truth" and "Pan-Relationalism," which are lectures 3-5 in Richard Rorty's Pragmatism As Anti-Authoritarianism.

How do we justify democracy? Rorty says we don't have to refer to transcendent Truth or Good to do this. He also denies the disinction between essential and accidental properties, and in fact between substance and property: Everything is just described in terms of its relations to other things, and which relations are important are not intrinsic to the thing, but a matter of a speaker's purposes.

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Known for casting mythical heroes in human proportions, Eurpides has his hands full with Medea—homocidal sorcerous, granddaughter of the sun, and a woman who does not take betrayal lightly. Nevertheless, the poet is able to capture the agony of someone who has given up everything for love—family, home, and homeland—only to find her passion disregarded, and her sacrifices unappreciated, by a man who robotically puts practicality above all else. But can we sympathize with a woman who would kill her own children, just for spite? Wes & Erin discuss Ancient Greece’s most notorious battle of the sexes, and Euripides’ rumination on the question of whether the Athenian ideals of rationality and moderation sufficiently honor the instinctual side of human nature.

Amy started out as an NYC punk fan, was in the "cow punk" band Last Roundup with her brother, and then in a vocal trio called The Shams that released an album and an EP around 1993. She finally emerged as a full front-person as a solo artist in 1997; she's since released nine solo albums plus three more with her husband Wreckless Eric, who now serves as her producer.

We discuss "Bricks" from Hang In There With Me (2024), "Genovese Bag" by Amy Rigby and Wreckless Eric from A Working Museum (2012), and "Beer and Kisses" from Diary of a Mod Housewife (1997). End song: "Dancing with Joey Ramone" from Little Fugitive (2005). Intro: "Dark Angel" by The Shams from Quilt (1993). More at amyrigby.com.

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Continuing on Richard Rorty's Pragmatism As Anti-Authoritarianism, ch. 1, "Pragmatism and Religion" and 2, "Pragmatism as Romantic Polytheism."

Rorty evaluates past pragmatists' approaches to religion, arguing contra James that it can't be "privatized," that democratic social goals involve shared rationality, which means that all of our beliefs are open to the judgment of our peers.

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Our long lost episode. Consider it a mystery box.

Mark philosophizes at partiallyexaminedlife.com. Bill improvises (and teaches) at chicagoimprovstudio.com. 

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As Pretty Much Pop ends its 5th year of podcasting, Mark, Lawrence, Sarahlyn and Al break from our usual format to talk in a more free-form way about the thin line between the "new" media we talk about on the show and the classics of yesteryear.

For more, visit prettymuchpop.com. Hear bonus content at patreon.com/prettymuchpop or by subscribing via Apple Podcasts to the Mark Lintertainment Channel.

Wes & Erin continue their discussion of two of Marie de France’s most famous lais—”Laustic” and “Guigemar”—and how their narratives marry the “flesh” of text, art, and symbology, to the “spirit” of the spoken word (via dialogue, oaths and covenants, and authorial commentary), in order, perhaps, to communicate something of the mysterious and dangerous union that is romantic love.

On Richard Rorty's Pragmatism As Anti-Authoritarianism (1997), ch. 1-2 about religion. Should democracy be defended on absolutist grounds, e.g. by reference to God-given or natural rights, the nature of Man, or the dictates of Reason?

Rorty says no! Democracy, ethics, and even truth itself are a matter for societies to decide for themselves. Monotheistic religion provides a negative model for ceding authority on these matters no something non-human.

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Continuing on "Knowledge First Epistemology" (2011), "Justifications, Excuses, and Sceptical Scenarios" (2015), and "Morally Loaded Cases in Philosophy" (2019).

How does knowledge-first epistemology relate to reliabilism? What are its moral implications? Does W. have a good argument against relativism and skepticism?

On "Knowledge First Epistemology" (2011), "Justifications, Excuses, and Sceptical Scenarios" (2015), and "Morally Loaded Cases in Philosophy" (2019).

Is knowledge basic, or is it dissolvable into more basic ingredients such as justification, truth, and belief? Williamson argues that these latter things should instead be defined in terms of knowledge.

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Internationally best-selling author David wrote a book (and made a film) called How We Got Here, which traces the gradual path in the history of ideas from the ancients through various forms of perspectivism, relativism, and post-modernism to the post-truth discourse that authoritarians and wanna-be authoritarians engage in. Some improv scenes are inserted awkwardly into the discussion.

Mark philosophizes at partiallyexaminedlife.com. Bill improvises (and teaches) at chicagoimprovstudio.com. See us live Wed. 8/21, 6pm at iO Theater, Chicago.

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The New York-based singer/keyboardist/guitarist had several releases with Nova Social from '98-'14 while also serving as music director for Wesley Stace's Cabinet of Wonders variety show. After four solo releases, he's formed a new project setting his droll lyrics in a '60s Brazilian setting called As For the Future.

We discuss "Koan for the Music Business" (and listen at the end to "Encyclopedia of Songs") from this project's 2024 self-titled album, "See the Devil" from Songs of Advice and Adversity (2020 EP), and "Drunk at the Prom" by Nova Social from For Any Inconvenience (2011). Intro: "Theme in Yellow" (feat. Jeff Tweedy) from Carl Sandburg's Chicago Poems (2016). More at davidnagler.com.

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The lai, a short narrative poem from the Middle Ages that treats themes of courtly love, was originally accompanied by music and sung by minstrels. But in the 1170s, poet Marie de France translated a series of Breton lais into French and, in so doing, converted an oral tradition into text. It’s no wonder, then, that her lais’ narratives are so often preoccupied with methods of communication: both the spoken word, with its spiritual, incantatory, or even magical qualities, and the written word—physical, embodied, and analogous to the art object (particularly and, appropriately, the textile, a medium associated since antiquity with female artistry). Wes & Erin discuss two of the poet’s most famous lais—”Laustic” and “Guigemar”—and how their narratives marry the “flesh” of text, art, and symbology, to the “spirit” of the spoken word (via dialogue, oaths and covenants, and authorial commentary), in order, perhaps, to communicate something of the mysterious and dangerous union that is romantic love.

Mark, Seth, and Dylan now turn to ch. 4 of Dasti/Phillips' Nyaya Sutra: Selections with Early Commentaries about the self. Buddhism famously claims that there is no self, and the Nyaya philosophers respond with both common-sensical arguments (e.g. psychological properties must be possessed by something) and religious (without a soul, what persists through reincarnation?).

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We're continuing to explore Nyaya epistemology, in this part focusing on ch. 3, "In Defense of the Real," in Nyaya Sutra: Selections with Early Commentaries (2017).

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John Wardle (named Jah Wobble by Sid Vicious) started playing bass in John Lydon's post Sex Pistols band Public Image Ltd. in 1978, left after two albums, and has since recorded 50+ solo and collaborative albums, largely led by the bass, but spanning many genres including some particularly famous work in the world-music area.

We discuss "Last Exit" from A Brief History of Now (2023), "21 Towards Lewisham Shopping Centre" from The Bus Routes of South London (2023), "Fly Away" from Jah Wobble & Invaders of the Heart from Ocean Blue Waves (2019), and "Blowout" (a 1985 single). End song: "Visions of You" by Jah Wobble’s Invaders of the Heart (feat Sinéad O'Connor) from Rising Above Bedlam (1991). Intro: "Public Image" by PiL from First Issue (1978).

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We discuss Christopher Storer's culinary dramedy in light of the release of its strange third season. What made this a uniquely wonderful show in its first season? Is the unsatisfying character of this season just a matter of its being only the first half of what was originally planned? We talk about the flashbacks, the cameos, the comedy, "food porn," and more.

For more, visit prettymuchpop.com. Hear bonus content at patreon.com/prettymuchpop or by subscribing via Apple Podcasts to the Mark Lintertainment Channel.

If you enjoy our show, check out the Pop Pantheon podcast.

Danny was in a sketch troupe called Maximum Party Zone with your improv host Bill, and they've now revived that trio to create the MPZ Listening Party podcast, which workshops sketch ideas in real time as a fun form of conversation. So we try out their shtick, combining two properties (The Apprentice and Argyle) and brainstorming about serial killer branding.

Mark philosophizes at partiallyexaminedlife.com. Bill improvises (and teaches) at chicagoimprovstudio.com.

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Continuing on ch. 1, "Knowledge Sources," of the Matthew Dasti/Stephen Phillips presentation of the Nyaya-Sutra: Selections with Early Commentaries.

We finish up perception and then talk about inference and testimony. Are these all independent sources, or do they, e.g. all reduce ultimately to perception as Western empiricists claim?

Enrollment is now open for Mark's Big Books in Continental Philosophy fall class at partiallyexaminedlife.com/class. Learn about the PEL book at partiallyexaminedlife.com/book.

Jef Costello is a hit-man with airtight alibis, impeccable style, and a strict code of honor. Add to this a masterful ability to evade his pursuers, mobsters and authorities alike, and a simple but effective home alarm system in the form of a bird. But what he cannot orchestrate, control, or evade is the improvisational nature of a genuine encounter with another person, which he unexpectedly finds with the jazz musician who witnesses him leaving the scene of one of his crimes. Wes & Erin discuss Jean-Pierre Melville’s 1967 noir thriller “Le Samouraï,” and the surprising power of love to capture its fugitives, even if it means finding them in the most shadowy of underworlds.

On The Nyaya Sutra: Selections with Early Commentaries, originally by Gautama (ca. 150 CE), plus explanations by Vatsyayana (450 CE), Uddyotakara (550), and Vācaspatimiśra (900), and the editors Matthew Dasti and Stephen Phillips (2017).

We discuss "knowledge sources," mostly the various kinds of perception, which is supposed to be inerrant and non-linguistic. Illusions aren't bad perceptions; they aren't perceptions at all.

Check out Mark's Big Books in Continental Philosophy fall class at partiallyexaminedlife.com/class. Learn about the PEL book at partiallyexaminedlife.com/book.

Oliver, son of Rick, has played on around 50 albums, including maybe 10 solo albums plus collaborations with Clive Nolan, Steve Howe, Gordon Giltrap, Yes, Starcastle, Light Freedom Revival, and more.

We discuss "Golden Sun in Grey" from Anam Cara (2024), "Is This the Last Song I Write?" from Ravens and Lullabies (2013), and "Mind Over Matter" from The 3 Ages of Magick (2001). End song: "To the Moment" by Yes from From a Page (recorded 2010, released 2019). Intro: "Diving" from Heaven’s Isle (1997). More at oliverwakeman.co.uk.

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We discuss the 2015 and 2024 Pixar films by writer/director Pete Docter , featuring the usual crew of Mark, Lawrence, Sarahlyn, and Al.

These films show kids that it's OK to be sad and how to cope with anxiety. Is the films' emotional impact objectionably manipulative? Does the "mental landscape" depicted helpfully represent the various elements we juggle, or is it just a fun pile of metaphors?

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What is the cause of human self-destructiveness? According to Dostoyevkys’s underground man, this “most advantageous advantage” is designed to save freedom from the constraints of rationality, and vitality from the quiescence that follows success. Yet he himself finds freedom only in spite and fantasy, while in real life he oscillates between failed and humiliating attempts to dominate or ingratiate himself with other people. Wes & Erin discuss “Notes from the Underground” and its agonized rumination on whether freedom can be reconciled with love, individuality with virtue, and action with reflection.

Tamler teaches philosophy at The University of Houston and hosts the Very Bad Wizards podcast. He joins Mark and Bill to talk about personal identity and whether the "self" is necessarily co-extensive with a particular body. Plus: meditation, Daniel Day Improv's method acting, All of Me vs. Regarding Henry, what does "metaphysics" mean to YOU, dreams as improv, unstuck-in-time Grandma the last slaveholder, and more.