The Podcast for Social Research

In this episode of the Podcast for Social Research Anna Kornbluh and Kate Wagner consider the aesthetics of contemporary American fascism in a conversation moderated by BISR's Audrey Nicolaides. The fascism of the moment merges violent delight in destruction with nouveau riche vulgarity, middle class mediocrity, and internet meme culture. Despite incessant callbacks to the 1930s and continued deployment of classic fascist themes, contemporary fascism distinguishes itself from its historical predecessors by its speed, virulence, sites of production, and mode of distribution: the big, beautiful slop machine, hyper-capitalized, decentralized, and algorithmically determined. How does the aesthetic regime of contemporary fascism function? How is it rewiring the libidinal economy of the present, and stacking the deck for capital? What's specific to fascism in the age of polycrisis? What does it mean now to resist by "politicizing aesthetics," as Walter Benjamin once enjoined us to? You can download the episode by right-clicking here and selecting "save as." Or, look us up on Spotify or Apple Podcasts. This episode was produced by Gil Morejon from live audio recorded at Chicago's Twelve Ten Gallery. If you like what you've heard, consider supporting the podcast by becoming a BISR member or subscribing to Brooklyn Institute's Patreon page, where you can enjoy access to all past and future episodes of the Podcast for Social Research.

In this episode of the Podcast for Social Research, Suzanne Schneider and Soraya Batmanghelichi consider the current crisis in Iran, tracing its roots through the touchpoints of twentieth- and twenty-first-century Iranian history. Their conversation ranges over the origins of modern Iranian political and class structures from the eighteenth century to the present, European interventions in the Middle East, the role of the Iranian people in revolutionary change, Iran-U.S. relations and disjunctions, geopolitical fantasies about Iran and the part it plays as a regional actor, and the very human stakes of inhumane conflicts. You can download the episode by right-clicking here and selecting "save as." Or, look us up on Spotify or Apple Podcasts. This episode was produced by Ryan Lentini. If you like what you've heard, consider supporting the podcast by becoming a BISR member or subscribing to Brooklyn Institute's Patreon page, where you can enjoy access to all past and future episodes of the Podcast for Social Research.

Episode 94 of the Podcast for Social Research is a live recording of an event held at BISR Central to mark the publication of political theorist Roxanne Euben's Driven to Their Knees: Humiliation in Contemporary Politics (Princeton University Press). The text examining visual, verbal, and embodied rhetorics of humiliation across a wide variety of Arabic sources alongside related especially American examples, showing how humiliation is understood as the "imposition of impotence by those with undeserved power." Euben joins BISR faculty Ajay Singh Chaudhary and Suzanne Schneider for a wide-ranging conversation about the place of humiliation in contemporary politics. Together, the three ask: What sort of political projects does the experience of humiliation authorize? How does humiliation rhetoric encode and constitute gendered political subjects? And how might such rhetoric galvanize collective political struggle? 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 19 of (Pop) Cultural Marxism, Isi and Ajay are joined by fellow BISR faculty Joseph Earl Thomas to discuss Ghost of Yotei, Sucker Punch Productions' much-anticipated sequel to Ghost of Tsushima. To kick off the episode, Isi and Ajay chat about recent cultural news and highlights, from the Japanese government calling on OpenAI to refrain from using anime and manga as training data, to the #SwiftiesAgainstAI campaign, to Paul Thomas Anderson's One Battle After Another (2025). Turning to Ghost of Yotei, Isi, Ajay, and Joseph consider where the game succeeds (its strong start, visual beauty, sharp soundtrack, and the satisfying chunkiness and texture of its combat scenes) and where it doesn't (its loadout system, simplistic puzzles, dearth of opportunities for stealth mode, and social and political quandaries its narrative and design raise). They explore the films and television shows that influenced Yotei—from Lady Snowblood and Samurai Champloo to the films of Takashi Miike, Akira Kurosawa, and Sergio Leone) and ask whether and where the game successfully incorporates cinematic techniques and conventions into its storyline. Along the way, they discuss the game's dicey depiction of the Ainu and the colonization of Hokkaido, consider whether the pleasure of open-world gaming has diminished or transformed in the years between Yotei and Tsushima, and interrogate the shape of the game's revenge plot. (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. Show notes On Japan and OpenAI: https://www.ign.com/articles/japanese-government-calls-on-sora-2-maker-openai-to-refrain-from-copyright-infringement-says-characters-from-manga-and-anime-are-irreplaceable-treasures-that-japan-boasts-to-the-world One Battle After Another, directed by Paul Thomas Anderson (2025) Other Paul Thomas Anderson films mentioned: Phantom Thread (2017), Inherent Vice (2014), The Master (2012), There Will Be Blood (2007) Ghost of Yotei (Sucker Punch Productions, 2025) Ghost of Tsushima (Sucker Punch Productions, 2020) Way of the Samurai (Acquire, 2002) Tenchu (Acquire/K2/FromSoftware, 1998-2009) Samurai Champloo (2004) Forspoken (Luminous Productions, 2023) South of Midnight (Compulsion Games, 2025) Infamous (Sucker Punch Productions, 2009-2014) Blue Eye Samurai (2023) The Legend of Zelda: Ocarina of Time (Nintendo, 1998) Metal Gear Solid 3: Snake Eater (2004) Parul Sehgal, "The Case Against the Trauma Plot" (2021): https://www.newyorker.com/magazine/2022/01/03/the-case-against-the-trauma-plot Kuroneko, directed by Kaneto Shindo (1968) Lady Snowblood, directed by Toshiya Fujita (1973) Lady Snowblood: Love Song of Vengeance, directed by Toshiya Fujita (1974) The Samurai Trilogy, directed by Hiroshi Inagaki (1954-1956)

In episode 18 of (Pop) Cultural Marxism, Isi and Ajay spend some time with a handful of big news items at the intersection of politics and media—from the Skydance-Paramount merger (and other instances of media market concentration) and its implications for American newsmedia (and its potential new gatekeepers); to Charlie Kirk's assassination, its aftermath, its mediations with mass cultural objects (like alleged HellDivers II bullet etchings or Nepalese protestors with One Piece flags); the culture industry's failure to perform even its therapeutic function; and the growing exclusivity of once-accessible arts venues and performance spaces! A wide ranging discussion of summer media diets follows, beginning with Isi's recent love affair with the Western genre. The two discuss their shared fondness for Sergio Leone and Ennio Morricone's many collaborations and the unmatched brilliance of HBO's Deadwood. Turning to the world of gaming, Ajay considers tragic endings (Expedition 33, the Death Stranding franchise), slow gaming (Herdling), and the relationship between gaming and choreography (Split Fiction). Also under consideration: what Joe Wright's miniseries, Mussolini: Son of the Century, gets right about the fascist imaginary; what Len Wiseman's Ballerina gets wrong about the appeal of John Wick; and what Foundation and The Sandman suggest about the challenges of adaptation and the culture industry's recent predilection for a 21st century spin on classical tragedy. Along the way, they return repeatedly to a longstanding PCM preoccupation with medium-specificity as well as the general bleakness seeping into the cultural reflections of this historical moment. (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.

In this episode of Faculty Spotlight, hosts Mark and Lauren sit down with faculty Alfred Lee and Xafsa Ciise, colleagues whose shared concerns—with race, bias, politics, human consciousness, and the history of science—have cultivated a fascinating and fruitful cross-disciplinary conversation. Xafsa, a social psychologist by training, kicks off the conversation with description of how she found her way into a historical investigation of trauma and its discourses, after which Alfred, a physicist by training and data scientist in practice, details the social and political questions that animate his concern with digital innovation and data applications. Along the way, their conversation touches on the surprising origins of trauma in mesmerism and animal magnetism; the experimenter's effect; simulation and deception in both trauma studies and AI discourse; scientism's bracketing of politics, and politics' return by way of history; conflicting concepts of "intelligence"; contextuality and relationality versus the conceit of universality; Freud, Fanon, and how psychoanalysis thinks about Blackness; the return of eugenics and race IQ discourses; longtermism and what a view to the far-distant future implies about the present; and the dangerously autarkic character of big tech. 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.

Episode 90 of the Podcast for Social Research—TRANSgressions: Rights Wrongs, and Liberal Pieties—was recorded (mostly) live at BISR Central, as we celebrated Pride Month by asking: What happens when trans people in the public eye commit real or perceived wrongs? By what criteria—or liberal pieties or social justice aims—are these so-called wrongs evaluated? And what kind of trans experience even gets a public airing at all—why and in service of what? We submitted these questions to BISR faculty Sophie Lewis, Hannah Leffingwell, and Ruth Averbach, each of whom approached it in a way apropos of their own scholarly and activist priorities. The first voice you'll hear is Sophie's, speaking from Philadelphia about a very specific form of Enemy Transfeminism: Trans Zionism. Ruth picks up from there to track the ideologically bewildering reception of a counterrevolutionary trans writer in 19th century Russia. After which we hear from Hannah on how trans life has historically interacted with the clinic and been represented in film. In conversation with one another and with a live BISR audience, Ruth and Hannah then embark on a freewheeling conversation that touches on, among other persons and things, Representative Sarah McBride, attorney Chase Strangio, the recent Supreme Court decision on trans-affirming healthcare, and much else besides. 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 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: Clair Obscur: Expedition 33 (Sandfall Interactive) Ran, dir. Akira Kurosawa (1985) Exiled, dir. Johnnie To (2006) Ghost Dog: The Way of the Samurai, dir. Jim Jarmusch (1999) Battleship Potemkin, dir. Sergei Eisenstein (1925) The Battle of Algiers, dir. Gillo Pontecorvo (1966) Army of Shadows, dir. Jean-Pierre Melville (1969) Jean-Paul Sartre, "The Republic of Silence" (1944) The Conformist, dir. Bernardo Bertolucci (1970) Sergey Nechayev, "Catechism of a Revolutionary" (1869) Laleh Khalili, "The Politics of Pleasure: Promenading on the Corniche" Guy Debord, The Society of the Spectacle Bertolt Brecht and Walter Benjamin on Brecht's "Epic Theater" McKenzie Wark, The Beach Beneath the City McKenzie Wark, A Hacker Manifesto

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 87 of the Podcast for Social Research, recorded live at BISR Central, BISR's Rebecca Ariel Porte and Dilettante Army Editor-in-Chief Sara Clugage sat down with Kyla Wazana Tompkins to discuss her latest book, Deviant Matter: Ferment, Intoxicants, Jelly, Rot. The conversation touches on, among other things: food and the early history of the War on Drugs, the racialization of sugar, jelly and cocaine, food as a means for diagnosing entrenched political problems, and how plantation capitalism—and later, industrial capitalism—altered the sensory quality of everyday life. Along the way, they ask: what are the political uses of disgust? How have coffee, rum and sugar production transformed human experience? And—with Sylvia Wynter—how do we reconcile the immateriality of ideology with the materiality of the body? 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.

In this shortcast edition of the Podcast for Social Research, BISR's Rebecca Ariel Porte, Ajay Singh Chaudhary, and Isi Litke discuss David Lynch's Mulholland Drive (2001). Conversation ranges over what it means for a thing to be "Lynchian," what it means for a thing to be surreal, why Mulholland Drive isn't easily reducible to pat explanation—and why that's a good thing, and the inextricability, modeled in the film, of dream life and ordinary reality. How, in film and life, do fantasy and reality merge? Why is Lynch particularly interested in Hollywood, that great dream factory? How does Lynchian melodrama, rubbing shoulders with Lynchian menace, give viewers the permission to feel things we otherwise deny ourselves in ordinary, waking life? What makes Lynch the premier poet of broken promises and shattered dreams?

What does sexual morality have to do with genocidal politics? In this episode of Faculty Spotlight, hosts Mark DeLucas and Lauren K. Wolfe sit down with Hannah Leffingwell—historian, queer theorist, musician, and novelist—to discuss the work of Dagmar Herzog, historian of sexuality whose celebrated book Sex After Fascism undid the myth that all Nazis were closeted homosexuals by exposing how it arose in the first place, and that long after the war had ended. Along the way, the three hash out: the uses and pitfalls of theory in the study of history, strategic misprisions of the past for political needs in the present, what sort of lens the history of sexuality can be for understanding mass political phenomena, and whether and how to invoke 20th-century fascisms to explain conservative reaction in the 21st. Tune in to discover why Nazism is not the past, how fascism was never anti-sex, why anti-queer and anti-trans animus have never been peripheral, why Trump can never be camp, and positive panegyrics for Chappell Roan and A Complete Unknown. Faculty Spotlight is produced by Ryan Lentini. Notes: Dagmar Herzog, Sex After Fascism (Princeton University Press, 2007) Dagmar Herzog, Cold War Freud (Cambridge University Press, 2016) Dagmar Herzog, The Question of Unworthy Life (Princeton University Press, 2024) Dagmar Herzog, Sex in Crisis (Basic Books, 2008) Sabrina Carpenter performing "Espresso" at the 2025 Grammys Chappell Roan performing "Pink Pony Club" at the 2025 Grammys Lesser Known Women (Hannah's band) on Spotify and Bandcamp Lesser Known Women performing at Sunset Stoop on March 8th! Learn more about upcoming courses on our website. Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky