In this episode of the Superstructure podcast, Scott Ferguson is joined by independent film scholar Jonathan Haynes to discuss Paul Thomas Anderson’s acclaimed new film, One Battle After Another. The conversation centers on the film’s contribution to popular political cinema under the authoritarian violence of the second Trump administration. Scott and Jonathan affirm One Battle’s unapologetically leftist perspective as a breath of fresh air within a current political climate of despair–a feeling emblematized by films such as Ari Aster’s Eddington. Specifically, the episode examines how One Battle, which draws loose inspiration from Thomas Pynchon’s 1990 novel Vineland, deliberately removes specific historical markers to place the story in an ambiguous present of ongoing revolution and counter-revolution. The hosts evaluate One Battle’s controversial representation of leftist violence, highlighting the film’s focus on countervailing infrastructures in addition to punctuated actions. They also speculate about the meaning of the film’s rich aesthetic choices, including the mobile telephoto lenses that transform a conventional car chase into a dizzying allegory of an American culture unclear about its driving motivations and aims. Finally, Scott and Jonathan consider the complex, racialized eroticism between the revolutionary mother and the white-supremacist commander (played by Teyana Taylor and Sean Penn), which gives rise to the central character, Willa (Chase Infinity). Willa, they argue, embodies the entangled, embattled, and yet still hopeful left politics that the film ultimately celebrates.

Music: “Yum” from “This Would Be Funny If It Were Happening to Anyone but Me” EP by flirting.
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Twitter: @actualflirting

We speak with Caroline Levine, Ryan Professor of the Humanities in the Department of Literatures in English at Cornell University, about her important book The Activist Humanist: Form and Method in the Climate Crisis(Princeton University Press, 2023). Building on the theory developed in her award-winning book, Forms: Whole, Rhythm, Hierarchy, Network, Levine’s The Activist Humanist redirects the critical capacities of formalist literary study to discover and mobilize the democratic potential of political forms thought by many on the left to be irredeemably exclusive, violent, and anti-democratic. Countering scholars in the environmental humanities who embrace only “modest gestures of care”—and who seem to have moved directly to “mourning” our inevitable environmental losses—Levine argues that large-scale, practical environmental activism should be integral to humanists’ work. For Levine, humanists have the tools–and the responsibility–to mobilize political power to tackle climate change. We speak with Levine at length about this project in an effort to move beyond critical gestures of dissolution and toward an activist formalism that moves constructively between politics and aesthetics.

See the Doughnut Economics Action Lab website for more information about the upcoming screening of Finding the Money mentioned in the audio introduction.

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Music by Nahneen Kula: www.nahneenkula.com

* Thank you to Robert Rusch for the episode graphic, Nahneen Kula for the theme tune, and Thomas Chaplin for the transcript. 

Money on the Left is proud to publish a remastered version of our third episode (ever!) with Fadhel Kaboub, now with a new transcript and art. Kaboub is associate professor of economics at Denison and President of the Global Institute for Sustainable Prosperity. In our conversation, Kaboub outlines a new critical approach to postcolonial political economy, arguing that re-gaining fiscal agency is a crucial next step for postcolonial nations hoping to achieve social, economic, and environmental justice. We talk specifically and at length about the CFA franc currency union, a system with violent colonial roots that continues to constrain the economic and political agency of its member states in West and Central Africa.

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Music by Nahneen Kula: www.nahneenkula.com

We speak with Vijay Raghavan, Professor of Law at the Brooklyn Law School, about his recent article, “The Radical Potential of Consumer Financial Protection,” published in Boston College Law Review in April 2025. Raghavan builds on the work of constitutional money theorists, as well as his legal experience in the public sector. In particular, he argues that consumer financial protection is an essential and potentially radical response to the "finance franchise,” a predominantly anti-democratic process by which modern governments delegate the money creation process to private actors like banks. The consensus in contemporary left sociological and legal scholarship dismisses consumer financial protection as a rearguard effort to sustain neoliberal capitalism. Raghavan, by contrast, reconceptualizes consumer financial protection as a vital counterweight to legally structured domination in financial markets. By tracing the history of this struggle from the early 20th century to the present, Raghavan provides a powerful legal framework for today's debtor movements, including the national campaigns to cancel student and medical debt. In doing so, Raghavan offers a forward-looking vision for how to build a durable consumer financial protection regime capable of reclaiming democratic authority in the post-Trump era.

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In this special episode, Rob Hawkes joins Scott Ferguson and Will Beaman to discuss his new article “(Un)conditional Openness: Towards a Neochartalist Theory of Money and Trust,” which was recently published in Money on the Left: History, Theory, Practice. The conversation traces the development of Rob’s long-standing interest in theories of trust from his doctoral research in literary studies towards an increasing fascination with the topic of money which eventually led him to MMT, neochartalism and the Money on the Left project. Rob recalls a jarring moment when, having become excited by the possibility of bringing MMT into his research on literature and trust, he realised that some neochartalists reject the idea that money is trust-based. Determined to think this relationship through in greater depth, Rob’s article reaches the conclusion that neochartalism demands a re-theorisation of the concept of trust itself. In this wide-ranging conversation, Rob, Scott, and Will work through some of the key moves the article makes, including the problematisation of barter-like theories of “calculative trust,” its consideration of the connection between trust and vulnerability, and the way trusting blurs the distinction between conditionality and unconditionality (as alluded to in the article’s title). Finally, the discussion addresses links between trust, the university (as an institution), and the uni currency proposal, and situates Rob’s work within the heterodox and heterogeneous interdisciplinary academic, para-academic, and extra-academic field that is contemporary neochartalism.

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Heterodox economist Jamee K. Moudud returns to Money on the Left to discuss his new book, Legal and Political Foundations of Capitalism: The End of Laissez-Faire? (Routledge, 2025).

The phrase “institutions matter” is a common refrain among economists, including many who have proposed progressive alternatives to free market fundamentalism. For Moudud, however, this proposition doesn't go far enough, leaving a host of problematic assumptions unquestioned. To remedy this, Moudud draws on the Original Institutional Economics and American Legal Realist traditions to propose a robust theory of legal institutionalism or institutional political economy.

At its core, Moudud argues, society is a political community founded on property rights, money, credit, constitutional law, and legally-endowed corporations. From this premise, he concludes that laissez-faire has never truly existed and that seemingly natural dichotomies between “state intervention” and “deregulation” or “free markets” and “market failures” are as baseless as they are false. Moudud’s book, by contrast, urges us to engage with legal-economic theory and history to understand what institutions are and what economic regulation truly means. He asks: How does law order the economy? How does money shape power relations?

Legal and Political Foundations of Capitalism should be of interest to readers of economics, law, and public policy, as well as those in international and development studies or anyone seeking to explore progressive alternatives in this period of multiple crises.

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In honor of the 50th anniversary of JAWS (1975), we are proud to publish a 2020 lecture about Steven Spielberg's film by Scott Ferguson. Far from a simple celebration, the lecture critically situates JAWS as the first genuine New Hollywood blockbuster and the originator of a distinctly neoliberal aesthetic that would come to dominate Hollywood for the next five decades. Ferguson explores the film's influence on Hollywood, its innovative use of television advertising, and its role in establishing the high-concept blockbuster. The majority of the lecture, however, teases out the film's profound aesthetic reorganization of Hollywood cinema. 

JAWS, Ferguson shows, employs a wide range of techniques, such as the "Spielberg face," "God lights," and what he calls the "quasi-diegetic" camera, which work together to create a sublime, immersive experience grounded in immediate physical relations. In this new aesthetic regime, abstraction is repressed, physics reigns supreme, and cinematic movement is reduced to zero-sum displacements of material forces and entities. Ferguson connects this immersive aesthetic to JAWS's narrative treatment of money as an essentially private, scarce, and politically unanswerable thing. Through this analysis, the lecture demonstrates how JAWS both expresses and contributes to a broader turn toward neoliberalism in 1970s America, revealing cinema's role in shaping the economic and political imagination of an era.

In this episode, we share Part 2 of our coverage of The Black University & Community Currencies workshop (Click here for Part 1). Held April 25, 2025 on the campus of Morehouse College, the workshop fostered dialogue between students, faculty, and activists about the radical possibilities of public money for higher education, broadly, and for communities at and around Morehouse, specifically. The occasion for the workshop was the conclusion of a semester in which students enrolled in Professor Andrew Douglas’s advanced political theory course at Morehouse implemented a classroom currency called the CREDO for use by Morehouse students. 

In practice the CREDO bears close resemblance to complementary currencies like the Benjamins at SUNY Cortland, the DVDs at Denison University, and the Buckaroos at University of Missouri, Kansas City. One significant aspect that sets the CREDO apart is that it is the first we know of to have been implemented at an Historically Black College or University. Another unique attribute of the experiment is that students were invited--and very capably answered the call--by their professor to reflect publicly on their experience as users, advocates, and critics of the currency at an HBCU. 

In the first half of this two-part episode, we hear directly from Isaac Dia, Elijah Qualls, John Greene, and Bruce Malveaux--students at Morehouse College and participants in Professor Douglas’s advanced political theory course--about their experiences with the CREDO and its implications for the Black University concept. In the second half, we hear audio of the panel itself as it took place on April 25, 2025. Both halves of the episode reward close attention. Together they document a moment of substantial conceptual and political advance for public money theory and for the hermeneutics of provision.

A very special thank you to Isaac, Elijah, John, Bruce, and all others who participated in the panel discussion and interview. 

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We speak with Lauren Arrington about her forthcoming book on women artists in the Federal Arts Project. The Great Depression rendered 140,000 women and girls across the United States homeless. In 1935, Franklin Delano Roosevelt founded the Works Progress Administration (WPA) that employed 8.5 million people over the course of eight years. Soon, the WPA instituted a landmark ruling forbidding sexual discrimination. As a result, between thirty and forty percent of newly hired artists on federal projects were women. This equity of opportunity enabled women to rise to positions of leadership and have access to resources that had a lasting effect on national institutions and on the history of art. In her book, Arrington challenges the popular memory of WPA art as a story of straight white men. Instead, she argues that the works of art that many women created under the Federal Arts Project made visible Black, immigrant, and women’s lives in a way that challenged segregationist, xenophobic, and sexist structures intrinsic in the nation’s institutions. 

During our conversation, Arrington explores the extraordinary achievements and tribulations of New Deal women artists and administrators. Among them include Alice Neel, Gwendolyn Bennett, Augusta Savage, Georgette Seabrooke, Lenore Thomas, and Pablita Velarde. Along the way, we track how these women and the Federal Art Project more broadly came under fire from local and national government officials who attempted to censor or suppress their radical work, to fire them from their jobs or force their resignations from projects, and to investigate them for “un-American” activity. We contemplate the challenges of writing histories of lost and often deliberately destroyed archives. And we consider the lessons of women’s participation in the Federal Arts Project for the future politics of public arts provisioning.

Lauren Arrington is Chair and Professor of English at University of South Florida. 

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In this episode, Money on the Left shares audio from "The Black University & Community Currencies,” a public workshop convened by Professor Andrew J. Douglas at Morehouse College on April 25, 2025. This episode presents Part 1 of the workshop. It features an introduction by Professor Douglas and two panels. The first panel is titled “What is Public Money?” (Delman Coates, Scott Ferguson & Benjamin Wilson. The second asks: “What is the Uni Currency Proposal?” (Scott Ferguson & Benjamin Wilson). Money on the Left will release audio from Part 2 of the workshop within a few weeks’ time.

Description:

In the late 1960s, in the context of the Black Power movement and amid calls to develop Black Studies programs at many US colleges and universities, Black student activists and radical intellectuals sought to imagine a more revolutionary "Black University," an institution or network of institutions dedicated entirely to Pan-African study and research. This workshop revisits the theory and vision of the Black University. It foregrounds questions of political economy—ranging from the theoretical critiques of capitalism and empire that inspired the Black University concept to more practical questions about financial viability and the "business model" of a revolutionary Black institution. And it considers how an emerging school of heterodox economic thinking—what has come to be known as Modern Money Theory—might inform a renewal of the Black University and its commitment to Black community building.

This comes at a time of great crisis in US higher education, especially at HBCUs. Students are unsustainably indebted, encouraged to think of their education as little more than a private economic transaction or "return on investment." Schools, increasingly desperate for funding, are made to compete for private capital, often in ways that compromise their ability to serve even the nominally progressive aspects of their missions. Surrounding neighborhoods have become little more than sites of extraction, sources of low-wage labor and opportunities for land speculation, otherwise walled off from the very institutions they are made to sustain. More broadly, democratic questions about what kind of society the university is meant to serve or what kind of society we want an education for are rarely if ever addressed. Meanwhile, fascism's dramatic resurgence is renewing questions about whether Black institutions can rely on even minimal support from white society. In many ways, we appear to face some of the very same conditions that inspired the vision of the Black University more than a half century ago.

What would it mean to renew the theory of the Black University? What are the challenges involved in building the Black University from within today's HBCUs? How might we reimagine the financial architecture of the university and its commitment to surrounding communities? How might new thinking about public money and banking-heterodox ideas about credit creation, public investment, jobs programs and the mobilization of community resources inform such a reimagining? How might HBCUs experiment with the creation of complementary currencies? And does this new thinking go far enough, or does it reflect simply a recommitment to the structures of domination and exploitation imperial state projects, the logic of capital, the instruments of antiblack violence that the Black University concept was always meant to expose and challenge?

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