(Pop) Cultural Marxism

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.

In episode six of (Pop) Cultural Marxism, Isi and Ajay consider the cultural imperative du jour, "Let People Enjoy Things"—and offer an alternative: not letting people enjoy things. What underlies the collective impulse to not criticize? What is the purpose of criticism? And how does the injunction to not criticize misunderstand the relationship between the self and representation? Are critics cheerless? Why are we anxious for our art (are blockbuster movies so fragile)? Why, in this moment, are we seemingly so driven to seek out cultural experiences that console? Isn't critical engagement in itself a pleasure? As Isi and Ajay explore the anti-critical impulse (with a detour into the present and future of the Oscars), they take up objects ranging from Best Picture winner Everything Everywhere All at Once (and the—rather ardent—discourse surrounding it) to Florian Sigl's The Magic Flute, Kate Wagner's Baffler essay "Don't Let People Enjoy Things," Franz Kafka's retranslated diaries, the video game Like a Dragon: Ishin!, A.O. Scott's New York Times exit interview, aesthetic debates reaching back to Adorno, Benjamin, and Lukács, and much else besides.

(00:00) Intro

(19:49) First break

(20:27) Let's talk Everything Everywhere All At Once

(45:39) Let People Enjoy Things?

(1:18:34) Second break

(1:19:00) The Academy Awards and what they signify

(1:46:43) Parting thoughts

In episode 5 of (Pop) Cultural Marxism, Isi and Ajay dive deep into the spectacle of James Cameron's latest blockbuster Avatar: The Way of Water, touching on questions of cinematic language, the ironic celebration of nature through its destructions, papyrus fonts, visual and narrative incoherence, Final Fantasy (and being unfair to it), Ridley Scott, Moby Dick, Heidegger's question concerning technology, Prehistoric Planet, windmills, colonialism, György Lukács, Eiji Otsuka, Sontag's "Fascinating Fascism," dubs vs. subs, 64-bit water, underwater motion capture, the shock doctrine, the movie's mildly eugenic obsession with sexualized (yet sexless) bodily perfection, James Cameron's legacy in crafting so much of the style of contemporary "cinematic universe" form, even the bizarre Manhattan mall where Isi and Ajay watched the movie. And, of course, lots and lots of water.

In episode four of (Pop) Cultural Marxism, Ajay, Isi, and Joseph review the year 2022 in pop culture via the prism of five topics and trends: "open world" (and cinematic universe) fatigue (for example, Assassin's Creed: Vahalla, Sonic Frontiers); the plague of remakes and cultural nostalgia (Top Gun Maverick, Wednesday, Interview with the Vampire); cultural paranoia (true crime TV and paraphernalia, including the "In Case I Go Missing Binder," Nextdoor, Tár); liberal fanfiction (Handmaid's Tale, Bridgerton); and the substitution of moral judgement and "forensic judgement" for actual aesthetic analysis (explainers, the backlash to critique,, deciphering). Do open worlds lend gravitas to video games—or do they just create sameness? What are the pastoral impulses behind farming games? Is the mania for remakes confirmation of Francis Fukuyama's "End of History"? Is Tár a product of cancel cultural panic? What is "plastic representation"; and how does representational fantasy like Bridgerton erase the very historical knowledge that makes social critique possible? And finally, what explains the urge to explain it all? How does ambiguity provide potency to art? The podcast closes with a discussion of Ajay's, Isi's, and Joseph's favorite 2022 things (whether actually released in 2022 or just personally discovered): Elden Ring, Yellowjackets, Hades, Azor, The Banshees of Inisherin, Station 11, and Xenoblade Chronicles 3 (Ajay's 2022 GOTY and theorized allegory for communism).

In episode three of (Pop) Cultural Marxism, Ajay and Isi welcome fellow faculty and videogame connoisseur Joseph Earl Thomas to talk about Elden Ring, the acclaimed 2022 RPG videogame, directed and created by Hidetaka Miyazaki and Japan's FromSoftware studio (alongside some "worldbuilding" by Game of Thrones writer George R.R. Martin.) After a few preliminaries (a revisit to Andor and discussions of the recent Sight and Sound "best movies" poll, Pokemon, Xenoblade Chronicles 3 as communist allegory, and more), the talk turns to Elden Ring's "endless purgatorio," its "nihilistic" setting, its "open-world" structure (just how "open" are open worlds?), the meaning and limits of agency in videogame play, taking pleasure in difficulty, "affective difficulty," why videogame playing might be like dancing (with reference to BISR's late Jeffrey Escoffier), affect theory (and feeling bad about killing), gender, playing dress-up, and much more besides.

In the second episode of (Pop) Cultural Marxism, Isi and Ajay continue their explorations of the "fantastic form" of pop-cultural commodities. This time around, they take up the latest addition to the Star Wars universe, Tony Gilroy's television series Andor. Their talk touches on topics large and small, from animatronic garbage droids, ordinary social life in the Star Wars universe, and the petty middle managerialism of empire, to labor militancy, Wagner's Ring Cycle, early Hollywood genre conventions, and much more (including a detour through dance).

Introducing Episode 1 of the new Podcast for Social Research subseries (Pop) Cultural Marxism, in which Ajay and Isi (and special guests!) will be exploring the "fantastic form" of pop-cultural commodities—from film and television to toys and games to objects of every conceivable consumer variety. In the premier episode, they turn their attention to the genre of fantasy, and in particular to the recent prequels to The Lord of the Rings and Game of Thrones. Listen in as they discuss, among other things, Amazon aesthetics, "the liberal imagination," beautiful failures, faux and real political realism, gif-able moments, Tolkien for neofascists, mimetic regression, billion-dollar budgets, and potential affinities between fantasy and socialist thought.