The first of your hosts' two episodes on the significance and genius of David Fincher's 1999 masterpiece Fight Club. In this episode: experiencing the film, neoliberal political economy, the Left, and punk rock.

To all of our friends and family living in the Minneapolis-St. Paul area: we love you. But yr city is just ok. A&E explain why.

The gents chat Paul Schrader's First Reformed (2017), Taxi Driver (1976), and The Last Temptation of Christ (1988) as a way into the poverty of the contemporary Christian church, Zizek, and "apocalypse" as the object of late capitalism.

Time to chat the greatest film of the 1990s: Kathryn Bigelow's Point Break, which serves as our case study for why dialectical (and theological) materialism remains the best way of approaching not only film but the current political and cultural moment. Plus: Blade Runner 2049. Vaya con Dios, friends.

Shortly before the collapse of the condo in Miami, Fla., A&E discussed at great length the degree to which Florida is the future. In so doing we focused on two Florida-based films making radical/theological arguments -- Harmony Korine's Spring Breakers and Sean Baker's The Florida Project -- in an effort to examine the horrors of the political economy we'd been discussing elsewhere.

Part 2 of our discussion of French philosopher Michel Foucault's late "neoliberal" thought and Dean's and Zamora's book The Last Man takes LSD.

A&E begin reading Dean's and Zamora's latest on Michel Foucault, The Last Man Takes LSD, and unpack the French philosopher's last decade, in which he abandoned Leftist politics proper to advocate for neoliberal capitalism as the solution to the problem of state.

A&E discuss the latest feature-length entry into the exhausting debate over the collegiate use of American Indian traditions for athletics, in this case the long-retired "Fighting Sioux" nickname and logo from North Dakota's flagship college, which is the focus of the film "Fighting over Sioux."

A&E examine Shaka King's Fred Hampton biopic Judas and the Black Messiah as Easter and Passover loom, wondering not only where the filmmaker got his information, but why, despite the film's title, theology is nowhere in the film or in any other Left-Liberal analyses of it.

Speaking of one of the Indiana Jones films, Richard Corliss somewhere wrote that we shouldn't fault a theme park for not being a cathedral. With this critique in mind, A&E discuss the latest from filmmaker Adam Curtis -- the six-part BBC series "Can't get you out of my head: An emotional history of the modern world."