The Culture We Deserve

Our pop culture has become insipid. What is the difference between Tom Cruise and Glen Powell? Tom Cruise has darkness within him. Watching him is thrilling because you can see him struggling to contain it. Glen Powell looks at every moment like he's about to turn to the camera, wink, and try to sell you a protein powder so you can get as ripped as him. Jessa and Nico discuss the problems of Running Man (which are problems about a lack of real darkness), why Edgar Wright can never be Paul Verhoeven, and why our dark times deserve dark artists. Shownotes and references: http://theculturewedeserve.substack.com

A young man goes home to announce his exciting new political and philosophical ideas to his family, only for the family dinner to devolve into shouting, arguing, and eventually a duel? It's a very special Thanksgiving episode of Revolution and Ruin! Turgenev portrays a pre-revolutionary Russia, as nihilism and other ideas begin to circulate among the youth, causing friction and exasperation among their elders. Bazarov and Arkady try to test out their new ideological position, and learn whether or not one can be a young nihilist in love. Shownotes and discussion: http://theculturewedeserve.substack.com

Did women ruin the workplace? Is wokeness feminine? Is this credit card my friend? Is cancel culture Malthusian? etc etc. Yes, the political right will do anything it can to avoid talking about class, and their latest gambit is to blame women for destroying the institutions of our society with their..... feelings. And their gossip. Helen Andrews's THE GREAT FEMINIZATION essay is still making the rounds, so Jessa and Nico discuss which is worse: sexual assault or some young ladies making a TikTok in their workplace. Also whether Leah Libresco Sargeant's counter that wokeness isn't feminine so much as it is coming from a religious impulse holds up. Shownotes and references: http://theculturewedeserve.substack.com

PBS recently decided to schedule the documentary The Last 600 Yards, about American troops fighting in Fallujah, after having shelved it for over a decade for being too pro-military. Co-produced by Steve Bannon, its re-emergence, according to Semafor, is because Bannon wants to convince Trump and his cronies from invading Venezuela. But like all shows, films, and media that centers military or police experience, it ends up glorifying the boots on the ground. Jessa and Nico discuss the upcoming Call of Duty film, the one (white) man against the cartel action film, and just how bad the propaganda was during the War on Terror. (Rest under whatever conditions you created for millions in the Middle East, Dick Cheney.) Shownotes and references: http://theculturewedeserve.substack.com

Exploring the complexities of the American Hero archetype, the hosts dive into its origins and cultural significance from WWII through Hollywood's story-telling. They debate if tearing down figures like Lincoln is more valuable than upholding these ideals. Discussion shifts to contemporary symbols and the idea of a 'Garden of American Heroes,' critiquing the arbitrariness of chosen figures and the implications of national narratives. Amidst a backdrop of literature and pop culture, they dissect the evolution of heroism and its role in shaping identity.

Julia Ioffe's new book explores Soviet state-sponsored feminism and its unintended consequences, highlighting the complex relationship between imposed rights and societal norms. The hosts dive into whether the MeToo movement echoed this trickle-down morality, arguing it often overlooked the struggles of working-class individuals. They also critique the film After the Hunt, discussing its ambiguous narrative as a reflection of MeToo's perceived limitations. The conversation spans cultural critiques, monetization of public figures, and the dangers of normalizing extremist views.

The hosts dive into the uncanny feeling gripping America, likening it to historical political tensions. They explore how films like Seven Days in May and The Parallax View reflect internal paranoia and military overreach. Discussions on modern authoritarianism and the commodification of marginalized cultures reveal unsettling truths. They also critique the U.S. role in foreign conflicts through cinema, emphasizing the complex nature of revolutions and resistance, while recommending intriguing media for deeper insight.

Exploring Charlotte Brontë's "Shirley", the hosts discuss the upheaval of industrialization and its impact on community and vocation. They dive into the lesser-known aspects of Brontë's work, contrasting it with her more famous novels. The conversation touches on women's roles in charity, the portrayal of church failures, and the limitations of female liberation. Themes of illness and social vulnerability are highlighted, alongside the novel's engagement with feminist thought and critique of marriage as closure.

In the world of creative economy, it's suggested that deceased creators earn more than living ones, as seen in the Crichton estate lawsuit. Jessa and Nico explore ethical dilemmas surrounding AI and writer compensation, along with the consequences of licensing art like Basquiat's. They ponder over cultural exchanges in geopolitics and the implications of influencer funding disclosure. The duo delves into the absurdities of modern political theater and the entanglement of copyright laws with artistic legacy, stressing the need for reform to benefit living creators.

A bestselling memoir claims to recount a woman's traumatic past but hinges on recovered memories induced by hallucinogens. The hosts discuss the dangerous implications of such claims, echoing the infamous satanic panic of the 1980s. They question the motives behind psychedelic startups and critique how media sensationalizes trauma narratives. Delving into the cultural obsession with PTSD, they explore how suggestion can create false memories, all while highlighting the intersection of women's media, profit, and politics.