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.”