In episode 17 of (Pop) Cultural Marxism, Ajay and Isi once again find themselves in the regrettable position of praising the Walt Disney Company. After chatting about recent cultural highlights (Clair Obscur: Expedition 33, a 40th anniversary screening of Kurosawa’s Ran, and a Criterion retrospective on Johnnie To), they consider the popular and critical success of Andor’s second season, and ask what it means to describe a pop cultural text as “politically timely.” Their conversation turns to extratextual ecosystems (press junkets, interviews), Gilroy’s deep engagement with cinematic depictions of fascism and rebellion (Army of Shadows, The Conformist), architecture and costume design, season 2 high points (the Ghorman Massacre, Mon Mothma’s Senate speech), the politics of revolutionary alliances, and imperial bureaucracy. Finally, they consider how the show makes the transition—narratively, visually, musically—into the lore-dense timeline of Rogue One and A New Hope, and ponder its uncharacteristically fascistic final scene.

(Pop) Cultural Marxism is produced by Ryan Lentini. 

Learn more about upcoming courses on our website.

Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky

Shownotes:

In episode 16 of (Pop) Cultural Marxism, Isi and Ajay discuss the return of Tony Gilroy’s Andor. Before departing for a galaxy far, far away, they stop by the world of gaming to chat about Hazelight Studio’s latest co-op title, Split Fiction, and the impact of Trump’s tariffs on the rollout of Nintendo’s Switch 2. Turning to the first three episodes of Andor’s second season, Isi and Ajay discuss the show’s improbable presence in the Disney universe, the promises and perils of thinking with all-too-timely cultural objects, and formal and technical differences between seasons one and two. They then evaluate Gilroy’s attempt to balance the tone and feel of the original trilogy with a plausible account of fascist and imperial rule–one that explores the minutiae of bureaucratic hierarchy, financial audits, counterinsurgency tactics, fascist youth culture, the exploitation of undocumented workers, communication blackouts, and the fragility of political resistance. Along the way, they discuss Gilroy’s historical and filmic references, and the show’s resonances with long-time PCM favorite, Franz Neumann’s Behemoth.

The Podcast for Social Research is produced by Ryan Lentini.

Learn more about upcoming courses on our website.

Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky

In episode 15 of (Pop) Cultural Marxism, Ajay, Isi, and Joseph explore vampires in media, across genre and time! Welcoming back Joseph after a few episodes away, the episode kicks off with a games roundtable on Monster Hunter: Wilds (Capcom, 2025) and Pentiment (Obsidian, 2022), among other things. Then the group quickly dives into all things vampire. From Capital to Castelvania, the conversation analyzes the psychosexual, political economic, Orientalist, literary, genre, social, and even epidemiological metaphors, allegories, and tropes that haunt vampire stories and have made the figure of the vampire of such perennial—if shifting—fascination. How have vampire stories changed over time? Why do vampire stories shift and blur genre and valence? Why is the vampire such a perennial stand-in, across so many fields, often at the same time? Objects in consideration include: Carmilla (Sheridan Le Fanu, 1872), Dracula (Bram Stoker, 1897), Interview with the Vampire (novel: Anne Rice, 1976; TV adaptation: Rolin Jones, 2022-present; film: Neil Jordan, 1994), The Vampire Chronicles and Lives of the Mayfair Witches (Anne Rice), Nosferatu (F.W. Munrau, 1922), Nosferatu (Robert Eggers, 2024), A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014), Buffy the Vampire Slayer (Joss Whedon, 1997-2003), Castlevania: Symphony of the Night (Konami, 1997), Castlevania (anime, Warren Ellis, 1997-2021), Castlevania: Nocturne (anime, Clive Bradley, 2023-present), True Blood (TV series, Alan Ball, 2008-2014), The Twilight Saga (films 2008-2012, based on the novels by Stephanie Meyer), Midnight Mass, What We Do In The Shadows, and many more! Discover how the erotic, the economic, the exotic and even the epidemic all collide in the tragedies, comedies, horrors, nightmares, and fantasies that prove the vampire is a potent if changing symbol for fears, desires, and delirium.

Isi and Ajay kick off episode 14 of (Pop) Cultural Marxism by paying tribute to the late, great American auteur David Lynch. They discuss the pleasures of Lynch's oneiric style, his keen eye for American mass culture (and the horrors it conceals), and recent re-watches of Twin Peaks and Dune. The two then reprise episode 13's review of 2024 pop culture. Along the way, they discuss year-end film releases (Brady Corbet's The Brutalist, Ridley Scott's Gladiator II, Robert Eggers' Nosferatu, Gints Zilbalodis' Flow), HBO's The Penguin, and recent gaming highlights (Kunitsu-Gami: Path of the Goddess) and lowlights (Indiana Jones and the Great Circle). Closing out the episode are pre-2024 cultural revisits, including Barry Lyndon, the Infernal Affairs trilogy, Jojo's Bizarre Adventure, The Case of the Golden Idol, Inside Man, and Koyaanisqatsi. 

The podcast was produced by Ryan Lentini.

In episode 13 of (Pop) Cultural Marxism, Ajay and Isi ruminate on a largely dismal year in pop culture. Kicking off with a discussion of unexpected developments in the world of health insurance, the conversation turns to a number of broad trends that characterized culture this year: AI, long production cycles, platforms—rather than cultural works—as objects of cathexis, IP art, and the use of IP as trans-media anchors. Along the way, they discuss social bandits, collective effervescence, Leiji Matsumoto’s Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the Criterion Closet truck, Sony’s push into the television space, Jon Chu’s Wicked, and 2024’s revealing box office numbers. In the second half of the episode, Ajay and Isi discuss the year’s highlights (Metaphor: ReFantazio [GoTY], Elden Ring: Shadow of the Erdtree, Lies of P, Mati Diop’s Dahomey, Shuchi Talati’s Girls Will Be Girls, a performance of book 1 of The Odyssey by Joseph Medeiros, Edward Berger’s Conclave, Todd Phillip’s divisive Joker: Folie à Deux, the second season of AMC’s Interview with the Vampire, and True Detective: Night Country) and lowlights (Denis Villeneuve's Dune 2, Luca Guadagnino’s Challengers, and a whole lot of "just okay" television)—with more to come in a follow-up episode after the holidays! 

In episode 12 of (Pop) Cultural Marxism, Ajay and Isi tackle Francis Ford Coppola’s Megalopolis (2024). Kicking off with a review of a few recent pop-cultural engagements—including an assemblage of classic vampire films (Coppola’s Bram Stoker’s Dracula (1992), among them), Mubi’s restoration of The Fall (2006), Elden Ring: Shadow of the Erdtree, and a pair of streaming series about professional wrestling—the conversation turns to Coppola’s reactionary would-be summa about an architect attempting to construct a techno-futuristic utopia on a plot of land in “New Rome,” an alternate-world New York City as played against Roman and early American history. Along the way, Ajay and Isi discuss Neri Oxman’s faux-ecological contributions to the film’s central animating macguffin, the mysterious “megalon;” the film’s antipathy for the marginalized masses; its protagonist as synthesis of Caesar, Robert Moses, Walter Gropius, and The Fountainhead’s Howard Roark; accidentally timely narratives of the “good guy” billionaire pitted against the “bad-guy” billionaire; and the ecofascist inclination to marry the romanticization of nature with authoritarian techno-optimism. Among the topics at hand are Coppola’s disturbing, “secretly autobiographical” efforts to reaffirm himself as auteur, his baffling postmodern pastiche, the classic right-wing themes of patriarchy as a sign of order and non-normative sexual expression as a sign of decline and decadence, the film’s shocking ugliness, and how Megalopolis’s strange incorporation of current events betrays “a baby boomer [having read] a bunch of airport history books.”

In episode 11 of (Pop) Cultural Marxism, Ajay and Isi examine Alex Garland’s Civil War (2024). Kicking off with a handful of pop culture news items—including the Met Gala, the death of Steve Albini, A24’s Stop Making Sense tribute album, and Apple's alarming iPad Pro commercial—the conversation turns to Garland’s provocative and uneven drama about a group of photojournalists traveling through a war-torn United States. Ajay and Isi discuss the perils of directors commenting on their own works, the film’s inadvertent critique of combat photographers, “Portland Maoists,” Garland’s allusions to significant 20th century photojournalists (Robert Capa, Lee Miller, Gerda Taro, the Bang Bang Club), reactionary aesthetics, and the vernacular of American violence. Central to the conversation are perennial questions about the mediation of war through film and photography; the circulation and reception of images of violence; and how to make a film about war that neither glamorizes nor sentimentalizes it.

What does culture look like in a "sustainable" world? In episode of 10 of (Pop) Cultural Marxism, Ajay, Isi, and guest Rebecca Ariel Porte examine the problems with "green" technology and consumption—which, it turns out, do little, nothing, or less than nothing to sustain the environment—and talk about the kinds of cultural forms, from literature to architecture to games, that are not only sustainable in terms of ecology and society but also aesthetically compelling and beautiful. How does genuine ecological sustainability depend on social sustainability for artists and engineers and other creative workers, and promote far richer aesthetic expressions? Why is so much "Green"-branded work—in everything from the builtworld to fine art—anything but? What forms of aesthetic creation not usually thought of as ecological, are actually sustainable in every dimension? How does our current unsustainable social and ecological society constrict imagination and creative effloresce? And how would even a modestly more sustainable world, actually enable and support such creative flourishing? Looking to both current and historical examples, Isi, Rebecca, and Ajay review art installations like Walter De Maria's The New York Earth Room and the MOMA's  Emerging Ecologies: Architecture and the Rise of Environmentalism; architecture from the "PR-architecture" of projects like "Oceanix" to the actual sustainability found in works like Võ Trọng Nghĩa's "Farming Kindergarten"; unexhausted forms in music (from Bach to Stravinsky, pop music to the vast world of jazz) and in verse, such as the ghazals of poet Anthony Madrid; film, tv, and even videogames, whether low-powered and low-tech (as with recent critical and commercial successes like Hades (Supergiant) or Stardew Valley (Concerned Ape)) or high-powered and high-tech (and highly popular), like Zelda, Elden Ring, and more. How is production—from emissions to mineral inputs, exploitative assembly and "crunch"—key to understanding aesthetic exhaustions? How does unsustainable ecological design and an ever accelerating model of production stifle creativity and promote ever narrower, more costly, and less interesting work? How does a model like streaming—and other modes of supposedly "dematerialized" distribution—actually obscure ecological damage while simultaneously making aesthetic production more difficult for artists and aesthetic consumption less compelling for everyone? What is the "trickle up misery" of "defensive architecture"? In the face of a capitalist ethos that always insists on creativity as bound to a logic of “bigger, faster, better, more,” the conversation explores the ways in which working, creating, designing, and engineering within limits has produced some of the most exciting aesthetic forms and experiences, and how the necessity of ecological and social limits can act as the "enabling constraints" of a far more compelling aesthetic life than the all-too-real dystopia of today.

In the final episode for 2023, Isi, Ajay, and Joseph address the vexing nature of End-of-Year lists—and then go through the vexing process of assembling our own! Isi leads us through our year in cinema; Ajay, the year in games; and Joseph, the year in television, culminating in three top picks (and some honorable mentions) for the year in each category. Discussions range from the surprising success of cinematic restorations to films which shape, subvert, and show the optical unconscious; games of visceral pleasure, systemic fascination, and astonishing simplicity; and the politics (and possibilities) in contemporary anime and the anxious and wonderfully character-driven year in television. Proceeding in part through negative examples (Oppenheimer and Final Fantasy XVI receive perhaps the harshest treatments), the cast ultimately records in the world of film: 1. Stop Making Sense (2023, remaster); 2. Killers of the Flower Moon (2023); and 3. May December (2023), with honorable mentions for How to Blow Up a Pipeline (2023) and The Boy and the Heron (2023). In the world of games: 1. The Legend of Zelda: Tears of the Kingdom (2023); 2. Armored Core 6 (2023); 3. Super Mario Brothers Wonder (2023) / Pikmin 4 (2023), with honorable mentions for Star Ocean: The Second Story R and a whole slate of tiny games for Panic's "Playdate" lo-fi handheld: Questy Chess, Omaze, Zipper, Casual Birder, among others. In the world of television: 1. Rap Shit (2023); 2. Beef (2023); 3. Attack on Titan (2013-2023), with honorable mentions for the live-action adaptation of One Piece (2023) and our collective 2022 hangover shows: Peaky Blinders (2013-2022) and Ozark (2017-2022). Stay tuned in for talk of the unbearable “Barbenheimer” phenomenon, what makes old action movies so good, unsustainable labor practices in the world of commercial game production, and making a “Breaking Bad” that is actually good. Wishing you all a critically reflective holiday season from PCM!

After a brief hiatus, Ajay and Isi are back with another episode of (Pop) Cultural Marxism! In episode 7, they sojourn amidst the splendid ruins of Hyrule in The Legend of Zelda: Tears of the Kingdom, the much celebrated 2023 game from Nintendo's EPD development group, directed and produced by Hidemaro Fujibayashi and Eiji Aonuma. Before delving into the series’ past and present iterations, the two spend some time catching up on what’s new at the movies—including the expected summer blockbusters, relative degrees of quackery, and other matters. Then it’s on to Nintendo and its quasi-mercantilist business model, the awe-inspiring complexity of the latest entry in the Zelda franchise, leading to excurses on Situationist psychogeography, flânerie, combinatorial aesthetics, architectural reasoning and silent film techniques. Taking up Tears of the Kingdom as a kind of Trauerspiel in the Benjaminian sense, they explore the dialectical tension between humor and mourning, diegetic and critical knowledge formation, comparative religion, and the beauty of works that are incomparably more than the sum (or multiplication) of their parts. Stay tuned for answers to burning listener questions on the game’s environmental (or extractivist) dimensions—with reference to Miyazaki’s Princess Mononoke—and the (fairly incomprehensible) class structure of Hyrule.