Ward has issued about ten releases of lyric-driven, stylish pop since 2003. We discuss the title track from Leonard at the Audit (2020), "Titans" from Diminish (2018), and the title track from Pulling Out (2008). Intro: "Sabbath" from Ward White Is the Matador (2014). End: "Bubble and Squeak," also from the new album. For info see wardwhite.net.

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L.B. Jefferies has the perfect girlfriend—beautiful, intelligent, wealthy—but too perfect, he insists, for marriage. And so he spends his time spying on the love lives of his neighbors, and ropes his girlfriend into this project as well. Which, strangely enough, turns out to be a really effective form of couples’ therapy. What’s the connection between voyeurism and what Jefferies calls “the intelligent way to approach marriage”? Wes and Erin discuss Alfred Hitchcock’s 1954 film Rear Window.

Thanks to CranioDsgn for permission re-purpose his poster for the cover art.

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Do we owe parents our gratitude for our upbringing? What if they haven’t done such a great job? And anyway, perhaps we inevitably resent all the forces that have shaped the characters that confine and limit us. If so, the quest for filial gratitude is ultimately hopeless. It could even be a kind of madness: a foolish attempt to transcend the same formative forces that we resent in our parents, to be “unaccommodated,” free of the “plague of custom.” Wes and Erin discuss William Shakespeare’s King Lear.

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An advantageous marriage is Elizabeth Bennet’s only potential escape from a foolish mother, a disinterested father, three very silly sisters, and a house that’s entailed away to her idiotic cousin Mr. Collins. But she turns down fabulously wealthy Mr. Darcy because he’s prideful—and maybe a little prejudiced. But then, so is she. How do we know if two people are well-suited to each other? What makes a successful match? Is Mr. Collins actually the perfect man? Wes and Erin discuss Jane Austen’s Pride and Prejudice.

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Thanks to Abbie Smith for allowing us to repurpose her poster for the cover art. And thanks to Tyler Hislop for the audio editing on this episode.

We're now moving on to the "mind" portion of our discussion, covering how reason motivates us, how free will is possible, and the degree to which the mind is passive or active.

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Mark and Mary are joined by improvisor-comedian-actress-filmmaker-host Vickie to talk about code switching and authenticity. Can you be authentic and still work a day job? Can Problem Solvers, Inc. solve the office restroom schedule? Are authentic hippies really beatniks? Also, displaying comic America on Korean talk shows, ethical pornography, commerce vs. art, granola in your hair, and more.

Vickie sticks around for a bit of post-game (usually restricted to supporters but shared with you this time), where we talk about the improv lessons and techniques from the episode and refresh what the point of this podcast is.

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Continuing on bits of Thomas Aquinas: Selected Philosophical Writings, completing our analysis of his arguments for the existence of God and then turning to eternity and the possibility of actually talking about God, given our finitude.

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It's a special two-hander where Mark and Lawrence reflect on the appeal of horror and how the new Monster: Ed Gein Netflix show has to contribute, given that it is not merely a (very loose) presentation of real events, and itself a horror drama, but also a commentary on the Hollywood properties influenced by the Ed Gein murders, including Psycho, The Texas Chainsaw Massacre, and Silence of the Lambs. We bring this up to date by including discussion of the Terrifier films as well as the work of Rob Zombie.

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