We talk about the Scream meta-slasher film franchise, from the original Wes Craven /Kevin Williamson 1996 debut starring Neve Campbell, and Courtney Cox to the new one (#7), still with three out of four of those participants (Wes Craven being dead).

Is the self-reflection about the horror genre in these films actually elevating, or just a permission structure to enjoy the base pleasure of seeing people murdered? Are these actually films that people who normally hate slasher movies still might enjoy?

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 484-510, which is the first part of "Self-Alienated Spirit. Culture."

In Hegel's ongoing semi-mythical story about the development of the modern self and society, we're now at a point where people are "bare persons," legally recognized but not distinguished from each other. We thicken these thin selves using cultural contents: your profession, your group memberships, your style, etc. But this way of individuating is fundamentally self-alienating: these ways that we identify ourselves are foreign to our souls!

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Kavus began in dual-guitar London math-rock bands in the '90s, joined The Cardiacs for their final lineup. His band Knifeworld released the first of its four albums in 2009, he released solo albums in 2020 and 2024, and since 2014 he has released six albums with legacy prog-rock band Gong. He has also released four studio albums with electronica band The Utopia Strong since 2019.

We discuss "Stars in Heaven" by Gong from Bright Spirit Haulix (2026), "Send Him Seaworthy" by Knifeworld from The Unraveling (2014), "You Broke My Fall" by Kavus Torabi from Hip to the Jag (2020), and "Wise Guy" by The Monsoon Bassoon, a 1998 single. Intro: "Ditzy Scene" by The Cardiacs, a 2007 single eventually released on LSD (2025).

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Continuing on on sec. 469-483 of Hegel's Phenomenology, finishing the analysis of Antigone and bringing in Oedipus to say why the conflict between types of law is both criminal and destined. We then turn to the aftermath: a society alienated from law but with legally recognized self-conscious individuals.

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St. Lawrence philosophy prof Jennifer L. Hansen, one of the most frequent guest on Mark's podcasts and expert in feminist philosophy, here hits it off with our new host Mary. We act out vegan jerky time, snacktime at the all-girls clubhouse, and two gals getting pulled over by a cop.

Does the "come debate me" style of philosophy include unnecessarily masculine tropes? How does this Charlie Kirk model relate to what Socrates was doing? What are alternative, fun ways to get students to talk in philosophy classes?

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In light of Judd Apatow's HBO documentary The 99-Year-Old Man, we discuss the films of Mel Brooks, which were to varying degrees formative on us (i.e. Mark, Lawrence, Sarahlyn, and Al).

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Continuing on Hegel's Phenomenology, "Spirit" chapter, now up to sections 464-483, which are under the sub-headings "Ethical Action. Human and Divine Knowledge. Guilt and Destiny" and "Legal Status."

After anticipating it in last episode, we get Hegel's allegorical analysis of Antigone as a clash between two types of law that cooperate in a harmonious society. With this clash, both fail, leaving us with modernity where law is alienated from individuals.

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On sec. 451-463 of Hegel's Phenomenology of Spirit. We get into more detail on these passages about the way the two types of law (human and divine) interact, as well as how these play out in family roles and the responsibility to bury the dead.

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