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 82 of the Podcast for Social Research, Patrick Blanchfield and Ajay Singh Chaudhary take up the dismal U.S. election results, what brought us here, what comes next, and more. With the excellent Nara Roberta Silva and Isi Litke unfortunately both out sick but present in spirit and mind Patrick and Ajay reflect on how themes of depletion, exhaustion, and illness offer a perfect point of departure for processing the general morass of our moment’s florid pathologies and generally grim vibes. Their conversation proceeds by unpacking psychoanalytic theories of libidinal economy in terms of trauma response, repression, and “pathic projection” alongside a materialist interrogation of the structural, political-economic conditions of misery in a crumbling and violently flailing U.S. empire. How did the two campaigns appeal to the anxieties and antipathies of voters by ratifying or disavowing their feelings, and by offering them competing accounts of whom to blame? What is or isn't negotiable for the U.S. imperial project abroad and for social reproduction at home, and how does that relate to what is or isn't sayable, or even thinkable, in domestic US discourse? How should we understand “Trumpism” in relation not just to terminological debates over fascism, but in the context of global political trends? How does Trump’s brand of nativism, theocratic Christianity, and patriarchy mesh with longstanding features of the American project, where does it depart from them, and how does it resonate with other nationalisms abroad? And how do the Biden presidency, the Harris campaign, and initial responses from media and political figures demonstrate the increasing hegemony of such positions among elites? Against a backdrop of genocidal violence, mounting climate crisis, and ever-shrill chauvinism, this episode is the first in a series of confrontations with the starkly bleak conditions of current American politics.

In this episode of Faculty Spotlight, hosts Mark DeLucas and Lauren K. Wolfe sit down with Jude Webre, cultural historian and practicing musician, to discuss the life and legacy of Dawn Powell, the urbane, acerbic, and woefully undercelebrated “lady wit” of Greenwich Village in its mid-century heyday. Attracted, as many of her generation were, by the allure of bohemia, its promise of liberation and self-realization, Powell exchanged her native midwest environs for an artist’s life in the city. Known, if not unremittingly beloved, by nearly all the literary lights of 1940s New York City—Edmund Wilson, Ernest Hemingway, Diana Trilling, Dorothy Parker, John Dos Passos, e.e. Cummings, and Jean Stafford to name just a few—it is hard to reconcile Powell’s social acumen, bracing wit, and the vitality of her literary output with the obscurity into which her life’s work has fallen in the six decades since her burial in a pauper’s grave. What were the manners, mores, and moods of mid-20th-century American bohemia? And how did Powell both share in and depart from them, both capture and censure them? What is it to follow a moral judgment and an aesthetic conviction, be they ever so slightly out of step with prevailing tastes? And what, finally, accounts for lasting literary fame?

The Podcast for Social Research is produced by Ryan Lentini.