Today: The undoing of Kanye West. “We’re in deeply vile territory, and I can’t make intellectual sense of that,” Wesley Morris says about West, who now goes by Ye.In 2004, when Ye released “College Dropout," he seemed to be challenging Black orthodoxy in ways that felt exciting and risky. But over the years, his expression of “freedom” has felt anything but free. His embrace of anti-Black, antisemitic and white supremacist language “comes at the expense of other people’s safety,” their humanity and their dignity, J Wortham says.Wesley and J discuss what it means to divest from someone whose art, for two decades, had awed, challenged and excited you.

Today: The undoing of Kanye West. “We’re in deeply vile territory, and I can’t make intellectual sense of that,” Wesley Morris says about West, who now goes by Ye.In 2004, when Ye released “College Dropout," he seemed to be challenging Black orthodoxy in ways that felt exciting and risky. But over the years, his expression of “freedom” has felt anything but free. His embrace of anti-Black, antisemitic and white supremacist language “comes at the expense of other people’s safety,” their humanity and their dignity, J Wortham says.Wesley and J discuss what it means to divest from someone whose art, for two decades, had awed, challenged and excited you.

America Has a Problem

“Black Panther: Wakanda Forever” came into theaters with a huge responsibility: It had to address the death of Chadwick Boseman, the star of the first “Black Panther” movie, who died of cancer in August 2020.Wesley and J discuss how the film offers the audience an experience of collective grief and mourning — something that never happened in the United States in response to the losses of 2020. They interrogate what it means that this gesture of healing came from Marvel and Disney, a corporate empire that is in control of huge swaths of our entertainment, and not from another type of leadership.Additional resources:To hear what Wesley and J had to say about the first “Black Panther” movie, listen to this episode of “Still Processing” from 2018. Ryan Coogler, the director of “Wakanda Forever,” spoke to the author Ta-Nehisi Coates about the making of movie, and how it captured the real-life grief that people experienced after Chadwick Boseman’s death. Listen to their conversation here.

“Black Panther: Wakanda Forever” came into theaters with a huge responsibility: It had to address the death of Chadwick Boseman, the star of the first “Black Panther” movie, who died of cancer in August 2020.Wesley and J discuss how the film offers the audience an experience of collective grief and mourning — something that never happened in the United States in response to the losses of 2020. They interrogate what it means that this gesture of healing came from Marvel and Disney, a corporate empire that is in control of huge swaths of our entertainment, and not from another type of leadership.Additional resources:<ul><li>To hear what Wesley and J had to say about the first “Black Panther” movie, <a href="https://www.nytimes.com/2018/03/16/podcasts/still-processing-we-sink-our-claws-into-black-panther-with-ta-nehisi-coates.html" rel="nofollow" target="_blank">listen to this episode of “Still Processing” from 2018</a>. </li><li>Ryan Coogler, the director of “Wakanda Forever,” spoke to the author Ta-Nehisi Coates about the making of movie, and how it captured the real-life grief that people experienced after Chadwick Boseman’s death. <a href="https://open.spotify.com/episode/5NkuU0ZRHpuJ9AJX4whAAH?si=A-XqWhHXTuuy-Ck7MLkK9w" rel="nofollow" target="_blank">Listen to their conversation here</a>.</li></ul>

Plastic Off the Sofa

Beyoncé’s latest album, “Renaissance,” showcases a pop star letting go of all expectations. Wesley and J go deep into the album and this new era of Beyoncé. It’s an era of play, freedom, comedy and queerness — unlike anything we’ve ever heard from Beyoncé Knowles-Carter before.

Beyoncé’s latest album, “Renaissance,” showcases a pop star letting go of all expectations. Wesley and J go deep into the album and this new era of Beyoncé. It’s an era of play, freedom, comedy and queerness — unlike anything we’ve ever heard from Beyoncé Knowles-Carter before.

I'm That Girl

Wesley and J discuss the push to “return to office” — and what it means for their lives, as well as American culture as a whole. What have 50 years of workplace sitcoms, from “The Mary Tyler Moore Show” to “Abbott Elementary,” taught us about our romance with the office? And what do TikTok parodies and the TV show “Severance” get right about the history of labor in America? In this period of returning to so-called normalcy, Wesley and J reflect on how we can ensure that the lessons of the early pandemic aren’t forgotten.

Wesley and J discuss the push to “return to office” — and what it means for their lives, as well as American culture as a whole. What have 50 years of workplace sitcoms, from “The Mary Tyler Moore Show” to “Abbott Elementary,” taught us about our romance with the office? And what do TikTok parodies and the TV show “Severance” get right about the history of labor in America? In this period of returning to so-called normalcy, Wesley and J reflect on how we can ensure that the lessons of the early pandemic aren’t forgotten.

New Foundation

Donna Summer’s 1977 hit “I Feel Love” is the inspiration for the final track on Beyoncé’s new album, “Renaissance.” Summer became the queen of disco in the ’70s, but her catalog goes much further than that. You can hear her legacy in decades of electronic and R&amp;B. “She is an architect of the pop culture we experience today,” J says.In this episode, J and Wesley revisit her 1982 album, “Donna Summer” — and explore why, out of all of her music, this self-titled album is the most distinctly Donna.

Donna Summer’s 1977 hit “I Feel Love” is the inspiration for the final track on Beyoncé’s new album, “Renaissance.” Summer became the queen of disco in the ’70s, but her catalog goes much further than that. You can hear her legacy in decades of electronic and R&amp;B. “She is an architect of the pop culture we experience today,” J says.In this episode, J and Wesley revisit her 1982 album, “Donna Summer” — and explore why, out of all of her music, this self-titled album is the most distinctly Donna.

Summer Renaissance

J Wortham and Wesley Morris are back, just in time for Scorpio season. Ever since they watched Jordan Peele’s latest film, “Nope,” together over the summer, they haven’t been able to stop talking about it. The film stars Daniel Kaluuya and Keke Palmer as siblings whose family horse ranch is threatened by an otherworldly creature. But instead of escaping or destroying the monster, they are determined to take a picture of it. Why is proof so important? And what does it mean to be believed? Today: The unresolved questions of “Nope” (some of them, anyway) and what the film says about the grimmer aspects of living in America. (Beware: Spoilers ahead!)“Still Processing” is back for a mini-season. New episodes on Tuesdays. Follow the show on Apple, Spotify, Stitcher, Amazon Music or wherever you get your podcasts.

J Wortham and Wesley Morris are back, just in time for Scorpio season. Ever since they watched Jordan Peele’s latest film, “Nope,” together over the summer, they haven’t been able to stop talking about it. The film stars Daniel Kaluuya and Keke Palmer as siblings whose family horse ranch is threatened by an otherworldly creature. But instead of escaping or destroying the monster, they are determined to take a picture of it. Why is proof so important? And what does it mean to be believed? Today: The unresolved questions of “Nope” (some of them, anyway) and what the film says about the grimmer aspects of living in America. (Beware: Spoilers ahead!)“Still Processing” is back for a mini-season. New episodes on Tuesdays. Follow the show on <a href="https://podcasts.apple.com/us/podcast/still-processing/id1151436460" rel="nofollow" target="_blank">Apple</a>, <a href="https://open.spotify.com/show/1wr19EefQb1OLldzfOR1KH?si=CKBarusfQCm9P1ECWJZ2VA&amp;nd=1" rel="nofollow" target="_blank">Spotify</a>, <a href="https://www.stitcher.com/show/still-processing" rel="nofollow" target="_blank">Stitcher</a>, <a href="https://www.amazon.com/ap/signin?clientContext=135-4010426-1276145&amp;openid.return_to=https%3A%2F%2Fmusic.amazon.com%2Fpodcasts%2Fd0f40f43-8859-4a26-a8ae-880513fa2e2d%2Fstill-processing%3FrefMarker%3Dnull&amp;openid.identity=http%3A%2F%2Fspecs.openid.net%2Fauth%2F2.0%2Fidentifier_select&amp;openid.assoc_handle=amzn_webamp_us&amp;openid.mode=checkid_setup&amp;marketPlaceId=ATVPDKIKX0DER&amp;openid.claimed_id=http%3A%2F%2Fspecs.openid.net%2Fauth%2F2.0%2Fidentifier_select&amp;pageId=amzn_cpweb&amp;openid.ns=http%3A%2F%2Fspecs.openid.net%2Fauth%2F2.0&amp;openid.pape.max_auth_age=0&amp;siteState=clientContext%3D132-3347036-8359124%2CsourceUrl%3Dhttp%253A%252F%252Fmusic.amazon.com%252Fpodcasts%252Fd0f40f43-8859-4a26-a8ae-880513fa2e2d%252Fstill-processing%253FrefMarker%253Dnull%2Csignature%3Dnull" rel="nofollow" target="_blank">Amazon Music</a> or wherever you get your podcasts.

Alien Superstar

Reunited at last, J Wortham joins Wesley Morris in the studio for the last episode of the season. They reflect on the challenges of being apart for almost a year while J was on book leave.How did J deal with the inevitable stretches of loneliness? How do you re-enter your home and your relationships after so much time away?J and Wesley discuss how they managed to stay connected over the past year, and the role of community and intimacy in moments of tragedy.

Reunited at last, J Wortham joins Wesley Morris in the studio for the last episode of the season. They reflect on the challenges of being apart for almost a year while J was on book leave.How did J deal with the inevitable stretches of loneliness? How do you re-enter your home and your relationships after so much time away?J and Wesley discuss how they managed to stay connected over the past year, and the role of community and intimacy in moments of tragedy.

We Belong Together

Today, Wesley leaves the studio – and goes home. He embarks on a journey that involves a car named Khad'ija, a tireless 92-year-old activist and one Chinatown. Last year, President Biden signed a $1 trillion infrastructure bill into law. One part of the initiative especially struck Wesley: the federal government’s acknowledgment that its mid-century push to build a massive highway system had caused suffering. Wesley started thinking about a highway that he sometimes crossed as a kid in Philadelphia: the Vine Street Expressway. When it was built in 1991, he never realized how deeply it had divided and altered the Chinatown neighborhood. What happened to all the people who were living there? How did their lives — and their communities — transform? On today’s show, Wesley returns to his hometown to try to find out. Click here for photos of Wesley's journey and more info about the episode.   

Today, Wesley leaves the studio – and goes home. He embarks on a journey that involves a car named Khad'ija, a tireless 92-year-old activist and one Chinatown. Last year, President Biden signed a $1 trillion infrastructure bill into law. One part of the initiative especially struck Wesley: the federal government’s acknowledgment that its mid-century push to build a massive highway system had caused suffering. Wesley started thinking about a highway that he sometimes crossed as a kid in Philadelphia: the Vine Street Expressway. When it was built in 1991, he never realized how deeply it had divided and altered the Chinatown neighborhood. What happened to all the people who were living there? How did their lives — and their communities — transform? On today’s show, Wesley returns to his hometown to try to find out. <a href="https://www.nytimes.com/2022/06/09/podcasts/still-processing-highways-biden-infastructure.html" rel="nofollow" target="_blank">Click here</a> for photos of Wesley's journey and more info about the episode.

When Your Neighbor’s the Highway

"This Is How We Do It" by Montell Jordan is an unforgettable hip-hop relic, a jam whose opening six words alone make you want to party. Wesley has heard this 1995 hit countless times since he was a teenager, but it wasn’t until hearing it recently at the gym that he had an epiphany: It’s a country song. It belongs to a long tradition of country music that expresses love and respect for one's hometown. Wesley explores other songs that have changed in meaning for him over the years (like “Losing My Religion” by R.E.M.), and he considers what happens to music’s meaning when the culture around it changes — the way it did with Britney Spears and her hits, in the aftermath of her yearslong struggle to end her court-sanctioned conservatorship.

"This Is How We Do It" by Montell Jordan is an unforgettable hip-hop relic, a jam whose opening six words alone make you want to party. Wesley has heard this 1995 hit countless times since he was a teenager, but it wasn’t until hearing it recently at the gym that he had an epiphany: It’s a country song. It belongs to a long tradition of country music that expresses love and respect for one's hometown. Wesley explores other songs that have changed in meaning for him over the years (like “Losing My Religion” by R.E.M.), and he considers what happens to music’s meaning when the culture around it changes — the way it did with Britney Spears and her hits, in the aftermath of her yearslong struggle to end her court-sanctioned conservatorship.

And a Britney Song Was On …

When Wesley was 11, he wanted to be just like Sandra from the sitcom “227,” played by Jackée Harry. Sandra was sassy, boisterous and always got what she wanted. But it took reading Margo Jefferson’s latest book, “Constructing a Nervous System: A Memoir,” for Wesley understand the complexity of this memory. On today's episode, Wesley and Margo Jefferson sift through their most deep-rooted, and sometimes difficult-to-explain cultural influences. Why did Margo adore the scatting of Ella Fitzgerald, but squirm at the sight of her sweating onstage? Why was Margo drawn to Ike Turner as a teen, but not Tina Turner? Together, Wesley and Margo unpack their cultural memories — and what they reveal about who they are now.

When Wesley was 11, he wanted to be just like Sandra from the sitcom “227,” played by Jackée Harry. Sandra was sassy, boisterous and always got what she wanted. But it took reading Margo Jefferson’s latest book, “Constructing a Nervous System: A Memoir,” for Wesley understand the complexity of this memory. On today's episode, Wesley and Margo Jefferson sift through their most deep-rooted, and sometimes difficult-to-explain cultural influences. Why did Margo adore the scatting of Ella Fitzgerald, but squirm at the sight of her sweating onstage? Why was Margo drawn to Ike Turner as a teen, but not Tina Turner? Together, Wesley and Margo unpack their cultural memories — and what they reveal about who they are now.

Sweat Equity

Wesley Morris and J Wortham are working it out in this weekly show about culture in the broadest sense. That means television, film, books, music — but also the culture of work, dating, the internet and how those all fit together.Listen to this podcast in New York Times Audio, our new iOS app for news subscribers. Download now at nytimes.com/audioapp

This show is so incredibly rich. Makes me think, makes me mad, makes my heart hurt. Keep going!!!!

Brilliant

Well-done. This was such a tight conversation. I’m in awe

Bravo

Wesley Morris and J Wortham are working it out in this weekly show about culture in the broadest sense. That means television, film, books, music — but also the culture of work, dating, the internet and how those all fit together. Listen to this podcast in New York Times Audio, our new iOS app for news subscribers. Download now at <a href="http://nytimes.com/audioapp" rel="nofollow" target="_blank">nytimes.com/audioapp</a>

Still Processing

We’re kicking off 2017 with a movie speed round to prepare for this weekend’s Golden Globes. We talk through our feelings about “La La Land,” “Fences” and a couple of the other films we saw over the holidays that made us laugh, cry — and sometimes cringe. Plus: Wesley serenades Mariah Carey after her New Year’s Eve debacle and we offer some cultural intentions for 2017.

We’re kicking off 2017 with a movie speed round to prepare for this weekend’s Golden Globes. We talk through our feelings about “La La Land,” “Fences” and a couple of the other films we saw over the holidays that made us laugh, cry — and sometimes cringe. Plus: Wesley serenades Mariah Carey after her New Year’s Eve debacle and we offer some cultural intentions for 2017.

‘The Perfect Movie for Our Time’ | Episode 18

We examine how HBO’s series “Watchmen” and Bong Joon Ho’s film “Parasite” bring to light the hidden histories that shape our modern lives.Discussed this week:“Parasite” (directed by Bong Joon Ho, 2019)“Watchmen” (HBO, 2019)“White Flights: Race, Fiction, and the American Imagination” (Jess Row, 2019)“In the Wake: On Blackness and Being“ (Christina Sharpe, 2016)We're going on hiatus, but we'll be back in your ears in early 2020!

We examine how HBO’s series “Watchmen” and Bong Joon Ho’s film “Parasite” bring to light the hidden histories that shape our modern lives.Discussed this week:<ul><li>“<a href="https://en.wikipedia.org/wiki/Parasite_(2019_film)" rel="nofollow" target="_blank">Parasite</a>” (directed by Bong Joon Ho, 2019)</li><li>“<a href="https://www.hbo.com/order/watchmen?camp=GOOGLE%7cHTS_SEM%7cPID_p49039760123&amp;keyword=%2Bwatchmen&amp;utm_id=71700000058951050&amp;utm_medium=paid-search&amp;utm_content=acq&amp;gclid=EAIaIQobChMI9o3VquvV5QIVip6fCh32wgWuEAAYASAAEgLByfD_BwE&amp;gclsrc=aw.ds" rel="nofollow" target="_blank">Watchmen</a>” (HBO, 2019)</li><li>“<a href="https://www.graywolfpress.org/books/white-flights" rel="nofollow" target="_blank">White Flights: Race, Fiction, and the American Imagination</a>” (Jess Row, 2019)</li><li>“<a href="https://www.dukeupress.edu/in-the-wake" rel="nofollow" target="_blank">In the Wake: On Blackness and Being</a>“ (Christina Sharpe, 2016)</li></ul> We're going on hiatus, but we'll be back in your ears in early 2020!

Wake

When Quaker decided to take Aunt Jemima off the red pancake box after 131 years, did it also try to scrub the legacy she represents? And what sort of compensation is appropriate — and to whom — from a brand that maintained that image in public for so long?Discussed this week:“Aunt Jemima Brand to Change Name and Image Over ‘Racial Stereotype’” (Tiffany Hsu, The New York Times, June 2020)“Aunt Jemima: I’se in Town, Honey” (Jim Crow Museum of Racist Memorabilia at Ferris State University)“The Dixie Chicks Change Their Name, Dropping the ‘Dixie’” (Ben Sisario, The New York Times, June 2020)“Lady Antebellum Sues the Singer Lady A Over Name Change” (Joe Coscarelli, The New York Times, July 2020)“Aunt Jemima’s Heirs’ $3 Billion Lawsuit Against Pepsi, Quaker Oats Tossed by Judge” (Tim Kenneally, The Wrap, February 2015)“What Is Owed” (Nikole Hannah Jones, The New York Times, June 2020)“The Case for Reparations” (Ta-Nehisi Coates, The Atlantic, June 2014)

When Quaker decided to take Aunt Jemima off the red pancake box after 131 years, did it also try to scrub the legacy she represents? And what sort of compensation is appropriate — and to whom — from a brand that maintained that image in public for so long?Discussed this week:<ul><li>“<a href="https://www.nytimes.com/2020/06/17/business/media/aunt-jemima-racial-stereotype.html" rel="nofollow" target="_blank">Aunt Jemima Brand to Change Name and Image Over ‘Racial Stereotype’</a>” (Tiffany Hsu, The New York Times, June 2020)</li><li>“<a href="https://youtu.be/3ipamH6EEwI" rel="nofollow" target="_blank">Aunt Jemima: I’se in Town, Honey</a>” (Jim Crow Museum of Racist Memorabilia at Ferris State University)</li><li>“<a href="https://www.nytimes.com/2020/06/25/arts/music/dixie-chicks-change-name.html" rel="nofollow" target="_blank">The Dixie Chicks Change Their Name, Dropping the ‘Dixie’</a>” (Ben Sisario, The New York Times, June 2020)</li><li>“<a href="https://www.nytimes.com/2020/07/08/arts/music/lady-antebellum-lady-a-lawsuit.html" rel="nofollow" target="_blank">Lady Antebellum Sues the Singer Lady A Over Name Change</a>” (Joe Coscarelli, The New York Times, July 2020)</li><li>“<a href="https://www.thewrap.com/aunt-jemima-3-billion-lawsuit-against-pepsi-quaker-oats-tossed-by-judge/" rel="nofollow" target="_blank">Aunt Jemima’s Heirs’ $3 Billion Lawsuit Against Pepsi, Quaker Oats Tossed by Judge</a>” (Tim Kenneally, The Wrap, February 2015)</li><li>“<a href="https://www.nytimes.com/interactive/2020/06/24/magazine/reparations-slavery.html" rel="nofollow" target="_blank">What Is Owed</a>” (Nikole Hannah Jones, The New York Times, June 2020)</li><li>“<a href="https://www.theatlantic.com/magazine/archive/2014/06/the-case-for-reparations/361631/?gclid=EAIaIQobChMIprGKz6bQ6gIVStbACh14Vgv2EAAYASAAEgJ6gPD_BwE" rel="nofollow" target="_blank">The Case for Reparations</a>” (Ta-Nehisi Coates, The Atlantic, June 2014)</li></ul>

Reparations for Aunt Jemima!

This week we're talking about white culture, and what it is trying to tell us about itself on TV, at the movies and in books. We're noticing that white people are anxious--consciously and unconsciously--about their place in the world, and it's fascinating to unpack. First, we look at the new season of Roseanne, a show that explicitly embraces its whiteness and thumbs its nose at anyone who would challenge that. Then, we talk about the hit horror movie A Quiet Place, which explores dystopia in a way that reveals submerged white fears of a brown invasion (we liked the craft of the movie a lot, but it’s got some problems it’s not aware of). We pose the question: what would a self-aware interrogation of being white look like?Plus, we celebrate JaVale McGee's incomparable stank face, worry about Kanye's tweets (we recorded this episode before his most recent tweets in support of Trump, which we'll have to address another time), and bring you our very first nominee for Song of the Summer...!  One last thing: we're bringing the show to Australia, and we'll be back with new episodes in a couple weeks. Till then, keep stuntin'! Keep shinin'!  Discussed this week:JaVale McGee (NBA player, Golden State Warriors)"The Legacy of Childhood Trauma" (Junot Diaz, The New Yorker)"I Like It" (Cardi B, Bad Bunny and J. Balvin) Kanye's recent tweetsRoseanne (ABC)A Quiet Place (directed by John Krasinski)White Trash: The 400-Year Untold History of Class in America (Nancy Isenberg, Penguin Books)Hillbilly Elegy: A Memoir of a Family and Culture in Crisis (JD Vance, HarperCollins)Evicted: Poverty and Profit in the American City (Matthew Desmond, Broadway Books)Green (Sam Graham-Felsen, Random House)

This week we're talking about white culture, and what it is trying to tell us about itself on TV, at the movies and in books. We're noticing that white people are anxious--consciously and unconsciously--about their place in the world, and it's fascinating to unpack. First, we look at the new season of Roseanne, a show that explicitly embraces its whiteness and thumbs its nose at anyone who would challenge that. Then, we talk about the hit horror movie A Quiet Place, which explores dystopia in a way that reveals submerged white fears of a brown invasion (we liked the craft of the movie a lot, but it’s got some problems it’s not aware of). We pose the question: what would a self-aware interrogation of being white look like?Plus, we celebrate JaVale McGee's incomparable stank face, worry about Kanye's tweets (we recorded this episode before his most recent tweets in support of Trump, which we'll have to address another time), and bring you our very first nominee for Song of the Summer...! One last thing: we're bringing the show to Australia, and we'll be back with new episodes in a couple weeks. Till then, keep stuntin'! Keep shinin'! Discussed this week:JaVale McGee (NBA player, Golden State Warriors)"The Legacy of Childhood Trauma" (Junot Diaz, The New Yorker)"I Like It" (Cardi B, Bad Bunny and J. Balvin) Kanye's recent tweetsRoseanne (ABC)A Quiet Place (directed by John Krasinski)White Trash: The 400-Year Untold History of Class in America (Nancy Isenberg, Penguin Books)Hillbilly Elegy: A Memoir of a Family and Culture in Crisis (JD Vance, HarperCollins)Evicted: Poverty and Profit in the American City (Matthew Desmond, Broadway Books)Green (Sam Graham-Felsen, Random House)

We Watch Whiteness

This week, Wesley and Jenna meet for breakfast to talk through their conflicting feelings about the new film “When the Bough Breaks,” the No. 2 film in America — she loved it, he not so much. They also decode the inherent racism of the sharing economy and bring in dance writer Shanti Crawford to review the moves we watched during the U.S. Open.

This week, Wesley and Jenna meet for breakfast to talk through their conflicting feelings about the new film “When the Bough Breaks,” the No. 2 film in America — she loved it, he not so much. They also decode the inherent racism of the sharing economy and bring in dance writer Shanti Crawford to review the moves we watched during the U.S. Open.

‘You Can’t Code Your Way Out of Racism’ | Episode 2

HBO’s “Leaving Neverland” — a two-part documentary that focuses on the stories of two men, James Safechuck and Wade Robson, who allege that Michael Jackson sexually abused them as children — prompts us to wrestle with our love for and discomfort with the pop star. We examine how Jackson seemed to have been culturally exonerated, and we ask what to do with a man whose artistic reach is so profound that “canceling” him — an imperfect way of dealing with problematic artists to begin with — might not even be possible.Discussed this week:“How to Support a Friend or Loved One Who Has Been Sexually Abused” (Vanessa Marin, The New York Times, 2019)“Leaving Neverland” (HBO, 2019)“Moonwalk” (Michael Jackson, 2009)“The Oprah Winfrey Show” (ABC, Feb. 10, 1993)“Living With Michael Jackson” (ITV, 2003)“On Michael Jackson” (Margo Jefferson, 2006)

HBO’s “Leaving Neverland” — a two-part documentary that focuses on the stories of two men, James Safechuck and Wade Robson, who allege that Michael Jackson sexually abused them as children — prompts us to wrestle with our love for and discomfort with the pop star. We examine how Jackson seemed to have been culturally exonerated, and we ask what to do with a man whose artistic reach is so profound that “canceling” him — an imperfect way of dealing with problematic artists to begin with — might not even be possible.Discussed this week:<ul><li>“<a href="https://www.nytimes.com/2019/02/27/smarter-living/sexual-abuse-assault-support-mental-health.html" rel="nofollow" target="_blank">How to Support a Friend or Loved One Who Has Been Sexually Abused</a>” (Vanessa Marin, The New York Times, 2019)</li><li>“<a href="https://www.hbo.com/documentaries/leaving-neverland" rel="nofollow" target="_blank">Leaving Neverland</a>” (HBO, 2019)</li><li>“<a href="https://www.penguinrandomhouse.com/books/85952/moonwalk-by-michael-jackson/9780307716989/" rel="nofollow" target="_blank">Moonwalk</a>” (Michael Jackson, 2009)</li><li>“<a href="https://www.oprah.com/entertainment/oprah-reflects-on-her-interview-with-michael-jackson/all" rel="nofollow" target="_blank">The Oprah Winfrey Show</a>” (ABC, Feb. 10, 1993)</li><li>“<a href="https://www.youtube.com/watch?v=-z34BKlCr9o" rel="nofollow" target="_blank">Living With Michael Jackson</a>” (ITV, 2003)</li><li>“<a href="https://www.penguinrandomhouse.com/books/86913/on-michael-jackson-by-margo-jefferson/9780307277657/" rel="nofollow" target="_blank">On Michael Jackson</a>” (Margo Jefferson, 2006)</li></ul>

M.J.

California’s new legislation allowing college athletes to make money off endorsements. One step forward. The backlash against victims who came forward in the wake of #MeToo. Two steps back. Does big, sustainable change have to feel like grasping at straws?Discussed this week: “California Tells the N.C.A.A. to Share, and It Pitches a Fit.” (Michael Powell, The New York Times, Oct. 4, 2019)“The Toll of Me Too.” (Rebecca Traister, The Cut, Sept. 30, 2019)

California’s new legislation allowing college athletes to make money off endorsements. One step forward. The backlash against victims who came forward in the wake of #MeToo. Two steps back. Does big, sustainable change have to feel like grasping at straws?Discussed this week: <ul><li>“<a href="https://www.nytimes.com/2019/10/04/sports/california-tells-the-ncaa-to-share-and-it-pitches-a-fit.html" rel="nofollow" target="_blank">California Tells the N.C.A.A. to Share, and It Pitches a Fit.</a>” (Michael Powell, The New York Times, Oct. 4, 2019)</li><li>“<a href="https://www.thecut.com/2019/09/the-toll-of-me-too.html" rel="nofollow" target="_blank">The Toll of Me Too.</a>” (Rebecca Traister, The Cut, Sept. 30, 2019)</li></ul>

Straws

It's going to be one of the biggest opening weekends in movie history. But "Black Panther" is about so much more than the box office. This week we're putting Ryan Coogler's new film in the full context it deserves and demands, with a little help from our friend Ta-Nehisi Coates.

It's going to be one of the biggest opening weekends in movie history. But "Black Panther" is about so much more than the box office. This week we're putting Ryan Coogler's new film in the full context it deserves and demands, with a little help from our friend Ta-Nehisi Coates.

We Sink Our Claws Into "Black Panther" with Ta-Nehisi Coates

Jordan Peele

We’re not over what happened at the Oscars on Sunday. You probably aren’t either. But we’re ready to move onto next year’s Oscars, where we fully expect to see “Get Out,” currently the No. 1 movie in America. We talk to its writer and director, Jordan Peele, about carving out space in the horror genre, how to deal with your liberal white friends and what it’s like to ask an actor to play a racist. Then, before the show takes month-long hiatus, we meditate on what we’ve learned doing Still Processing.

We’re not over what happened at the Oscars on Sunday. You probably aren’t either. But we’re ready to move onto next year’s Oscars, where we fully expect to see “Get Out,” currently the No. 1 movie in America. We talk to its writer and director, Jordan Peele, about carving out space in the horror genre, how to deal with your liberal white friends and what it’s like to ask an actor to play a racist. Then, before the show takes month-long hiatus, we meditate on what we’ve learned doing Still Processing.

Season Finale with Jordan Peele | Episode 26

We’re back! And we’re picking up right where we left off: thinking about “Get Out.” Jordan Peele’s instant classic is the lens through which we’re seeing everything these days, from the hit podcast “S-Town” to that Kendall Jenner Pepsi ad the internet will never let us forget. We've got a grand theory about how it all connects.

We’re back! And we’re picking up right where we left off: thinking about “Get Out.” Jordan Peele’s instant classic is the lens through which we’re seeing everything these days, from the hit podcast “S-Town” to that Kendall Jenner Pepsi ad the internet will never let us forget. We've got a grand theory about how it all connects.

We Go To S-Town

The Jussie Smollett investigation has captured America’s attention — and ours. We take a look at the support for as well as the doubts about Smollett’s claims, and try to make sense of the charge that Smollett staged his own attack. In an era in which personal trauma and victimhood are often leveraged for cultural capital, we consider the long-term repercussions of the Smollett case.Discussed this week:“Jussie Smollett Timeline: Mystery Remains as Actor Is Charged With Faking His Assault” (Sopan Deb, The New York Times, Feb. 17, 2019)“Lee Daniels Shares Powerful Words for Jussie Smollett After Racist, Homophobic Attack” (Alex Ungerman, ETOnline, Jan. 29, 2019)April Ryan asks President Trump what he thinks about the alleged attack on Jussie Smollett (C-Span, Jan. 29, 2019)“Jussie Smollett speaks to Robin Roberts in ABC News exclusive interview” (Good Morning America, Feb. 14, 2019)“Can the Grammys Please Anyone?” (Ben Sisario, The New York Times, Feb. 7, 2019)“Fyre: The Greatest Party That Never Happened” (Netflix, 2019)“Fyre Fraud” (Hulu, 2019)“Breaking Bad” (AMC, 2008-13)“Where’s All This Energy for the Attacks on Black Transgender Women?” (Raquel Willis, Out, Jan. 31, 2019)“At the Dark End of the Street: Black Women, Rape, and Resistance — A New History of the Civil Rights Movement From Rosa Parks to the Rise of Black Power” (Danielle L. McGuire, 2011)“Prada, Gucci and now Burberry: Are brands under fire for offensive designs doing it on purpose?” (Rachel Leah, Salon, Feb 20. 2019)“Former Goucher Student Faces Four Counts of Hate Crime Charges for Racist Graffiti” (WJZ, Dec. 5, 2018)“Revisiting a Rape Scandal That Would Have Been Monstrous if True” (Retro Report, The New York Times, June 3, 2013)“Why You Always Lying” (Nicholas Fraser, Sept. 14, 2015)

The Jussie Smollett investigation has captured America’s attention — and ours. We take a look at the support for as well as the doubts about Smollett’s claims, and try to make sense of the charge that Smollett staged his own attack. In an era in which personal trauma and victimhood are often leveraged for cultural capital, we consider the long-term repercussions of the Smollett case.Discussed this week:<ul><li>“<a href="https://www.nytimes.com/2019/02/17/arts/television/jussie-smollett-attack-timeline.html?rref=collection%2Fbyline%2Fsopan-deb&amp;action=click&amp;contentCollection=undefined®ion=stream&amp;module=stream_unit&amp;version=latest&amp;contentPlacement=2&amp;pgtype=collection" rel="nofollow" target="_blank">Jussie Smollett Timeline: Mystery Remains as Actor Is Charged With Faking His Assault</a>” (Sopan Deb, The New York Times, Feb. 17, 2019)</li><li>“<a href="https://www.etonline.com/lee-daniels-shares-powerful-words-for-jussie-smollett-after-racist-homophobic-attack-watch-118383" rel="nofollow" target="_blank">Lee Daniels Shares Powerful Words for Jussie Smollett After Racist, Homophobic Attack</a>” (Alex Ungerman, ETOnline, Jan. 29, 2019)</li><li>April Ryan asks <a href="https://www.c-span.org/video/?457444-1/president-trump-if-wall-work" rel="nofollow" target="_blank">President Trump</a> what he thinks about the alleged attack on Jussie Smollett (C-Span, Jan. 29, 2019)</li><li>“<a href="https://www.google.com/url?q=https://abc.go.com/playlists/PL557769560/video/VDKA8148942&amp;source=gmail&amp;ust=1551307249771000&amp;usg=AFQjCNEMaOpFSJb1X1Uf7kaa1c24ebdSKw" rel="nofollow" target="_blank">Jussie Smollett speaks to Robin Roberts in ABC News exclusive interview</a>” (Good Morning America, Feb. 14, 2019)</li><li>“<a href="https://www.nytimes.com/2019/02/07/arts/music/grammy-awards-diversity.html" rel="nofollow" target="_blank">Can the Grammys Please Anyone</a>?” (Ben Sisario, The New York Times, Feb. 7, 2019)</li><li>“<a href="https://www.netflix.com/watch/81035279?source=35" rel="nofollow" target="_blank">Fyre: The Greatest Party That Never Happened</a>” (Netflix, 2019)</li><li>“<a href="https://www.hulu.com/movie/fyre-fraud-e47078f3-1c0e-49a8-9da9-c571a7a20fec?&amp;cmp=10701&amp;utm_source=google&amp;utm_medium=SEM&amp;utm_campaign=CM_SEM_Fyre%20Fest%20Doc&amp;utm_term=fyre%20fraud%20hulu&amp;ds_rl=1251123&amp;ds_rl=1251123&amp;gclid=EAIaIQobChMI2JqLva_a4AIVg0oNCh2jBwUvEAAYASAAEgI1rPD_BwE&amp;gclsrc=aw.ds&amp;dl" rel="nofollow" target="_blank">Fyre Fraud</a>” (Hulu, 2019)</li><li>“<a href="https://www.amc.com/shows/breaking-bad" rel="nofollow" target="_blank">Breaking Bad</a>” (AMC, 2008-13)</li><li>“<a href="https://www.out.com/news-opinion/2019/1/31/wheres-energy-attacks-black-transgender-women" rel="nofollow" target="_blank">Where’s All This Energy for the Attacks on Black Transgender Women?</a>” (Raquel Willis, Out, Jan. 31, 2019)</li><li>“<a href="https://www.penguinrandomhouse.com/books/111678/at-the-dark-end-of-the-street-by-danielle-l-mcguire/9780307389244/" rel="nofollow" target="_blank">At the Dark End of the Street: Black Women, Rape, and Resistance — A New History of the Civil Rights Movement From Rosa Parks to the Rise of Black Power</a>” (Danielle L. McGuire, 2011)</li><li>“<a href="https://www.salon.com/2019/02/20/prada-gucci-and-now-burberry-are-brands-under-fire-for-offensive-designs-doing-it-on-purpose/" rel="nofollow" target="_blank">Prada, Gucci and now Burberry: Are brands under fire for offensive designs doing it on purpose?</a>” (Rachel Leah, Salon, Feb 20. 2019)</li><li>“<a href="https://www.youtube.com/watch?v=6T9reBLpiv0" rel="nofollow" target="_blank">Former Goucher Student Faces Four Counts of Hate Crime Charges for Racist Graffiti</a>” (WJZ, Dec. 5, 2018)</li><li>“<a href="https://www.nytimes.com/video/us/100000002258183/the-tawana-brawley-story.html?rref=collection%2Ftimestopic%2FBrawley%2C%20Tawana&amp;action=click&amp;contentCollection=timestopics®ion=stream&amp;module=stream_unit&amp;version=latest&amp;contentPlacement=3&amp;pgtype=collection" rel="nofollow" target="_blank">Revisiting a Rape Scandal That Would Have Been Monstrous if True</a>” (Retro Report, The New York Times, June 3, 2013)</li><li>“<a href="https://www.youtube.com/watch?v=WcWM_1hBu_c" rel="nofollow" target="_blank">Why You Always Lying</a>” (Nicholas Fraser, Sept. 14, 2015)</li></ul>

Liars

Through tears, and with the help of our oracle Margo Jefferson, we begin to process the election of Donald J. Trump.

Through tears, and with the help of our oracle Margo Jefferson, we begin to process the election of Donald J. Trump.

The Reckoning | Episode 10

In the last 30 years, blackness has migrated from the margins of American popular culture to its center. Right now, a bounty of television, movies, and music engages with the question of how people signal to each other that they’re down with blackness. And it isn't just white people doing the signaling. It's black people too, albeit in a different way. We’ll dig into Netflix’s new show “Dear White People,” and television and film from the 1980s and 1990s and try to understand: what does it mean to perform blackness?

In the last 30 years, blackness has migrated from the margins of American popular culture to its center. Right now, a bounty of television, movies, and music engages with the question of how people signal to each other that they’re down with blackness. And it isn't just white people doing the signaling. It's black people too, albeit in a different way. We’ll dig into Netflix’s new show “Dear White People,” and television and film from the 1980s and 1990s and try to understand: what does it mean to perform blackness?

We're Going Black(er) AKA Dear Woke People

While we are discussing the Emmys, which Jenna barely wanted to watch, something amazing happens: a call from somebody who actually has an Emmy! Yup, it’s RuPaul. He talks about both the importance of his Emmy-winning show, “RuPaul’s Drag Race,” and its non-importance, which, according to him, is its actual importance: “Identity is a hoax, people!” Then it’s on to a conversation about “Bridget Jones’s Baby” and “Snowden,” two films with nothing in common — well, except in Wesley's experience of them. Ultimately, the week’s news — police shootings, political insults, and, yes, superstar divorce — proves too much for us. So we escape to Bryant Park, where Jenna gives Wesley some advice for how to detox.

While we are discussing the Emmys, which Jenna barely wanted to watch, something amazing happens: a call from somebody who actually has an Emmy! Yup, it’s RuPaul. He talks about both the importance of his Emmy-winning show, “RuPaul’s Drag Race,” and its non-importance, which, according to him, is its actual importance: “Identity is a hoax, people!” Then it’s on to a conversation about “Bridget Jones’s Baby” and “Snowden,” two films with nothing in common — well, except in Wesley's experience of them. Ultimately, the week’s news — police shootings, political insults, and, yes, superstar divorce — proves too much for us. So we escape to Bryant Park, where Jenna gives Wesley some advice for how to detox.

RuPaul: 'Identity Is a Hoax, People!' | Episode 3

With the election (nearly) resolved, we have a moment to step back and look at what fantasies our country is built upon. From the role of president, to the threat of another civil war to the soul of the country itself, we’re all harboring some kind of fantasy that we should probably interrogate.

With the election (nearly) resolved, we have a moment to step back and look at what fantasies our country is built upon. From the role of president, to the threat of another civil war to the soul of the country itself, we’re all harboring some kind of fantasy that we should probably interrogate.

Sweet, Sweet Fantasies, Baby

With a monumental election on the horizon, we want to bring up a few recent events that show some sort of truth amid the confusion. From the NBA bubble to the fly in Mike Pence’s hair to HBO's “Lovecraft Country”, these are moments that point us beyond the present, to be our best and greatest selves.Discussed this week:“Scandal” (Season 4, Episodes 9-12, ABC, 2015)The N.B.A. bubbleThe vice-presidential debate (Oct. 7, 2020)“Lovecraft Country” (Episode 7, HBO, 2020)Sun RaMore Sun RaEven more Sun Ra

With a monumental election on the horizon, we want to bring up a few recent events that show some sort of truth amid the confusion. From the NBA bubble to the fly in Mike Pence’s hair to HBO's “Lovecraft Country”, these are moments that point us beyond the present, to be our best and greatest selves. Discussed this week:<ul><li>“<a href="https://www.hulu.com/series/scandal-ef4342b5-3fb0-4b30-8fae-285347967776" rel="nofollow" target="_blank">Scandal</a>” (Season 4, Episodes 9-12, ABC, 2015)</li><li>The N.B.A. bubble</li><li><a href="https://www.youtube.com/watch?v=t_G0ia3JOVs" rel="nofollow" target="_blank">The vice-presidential debate</a> (Oct. 7, 2020)</li><li>“<a href="https://www.hbo.com/lovecraft-country" rel="nofollow" target="_blank">Lovecraft Country</a>” (Episode 7, HBO, 2020)</li><li><a href="https://www.nytimes.com/2020/10/27/arts/music/sun-ra-arkestra-swirling.html" rel="nofollow" target="_blank">Sun Ra</a></li><li><a href="https://www.nybooks.com/articles/2020/07/23/sun-ra-everything-nothing/" rel="nofollow" target="_blank">More</a> Sun Ra</li><li><a href="https://www.youtube.com/watch?v=7Esmjx8eVcE" rel="nofollow" target="_blank">Even more</a> Sun Ra</li></ul>

'Waiter, There's a Fly in Our Bubble'

This week, we trace the evolution of black American cinema from blaxploitation in the 1970s to what we’re calling "blaxplaining" in 2018. While blaxploitation sought to showcase black actors in dramatic, action-packed films, today’s blaxplaining centers on the challenges of being black in America. We examine three films — "The Hate U Give," "Blindspotting" and "Sorry to Bother You" — and ask if they accurately depict aspects of contemporary black life, or instead merely seek to make some black experiences more palatable to white audiences.Discussed this week:"The Hate U Give" (directed by George Tillman Jr., 2018)"Blindspotting" (directed by Carlos López Estrada, 2018) "Sorry to Bother You" (directed by Boots Riley, 2018)"Coffy" (directed by Jack Hill, 1973)"Slaves" (directed by Herbert Biberman, 1969)"Sweet Sweetback’s Baadasssss Song" (directed by Melvin Van Peebles, 1971)"The Devil Finds Work" (by James Baldwin, 1976)"Lady Sings the Blues" (directed by Sidney J. Furie, 1972)"Mandingo" (directed by Richard Fleischer, 1975)"Jaws" (directed by Steven Spielberg, 1975)"Hammer" (directed by Bruce Clark, 1972)"Truck Turner" (directed by Jonathan Kaplan, 1974)"Shaft" (directed by Gordon Parks, 1971)"Blacula" (directed by William Crain, 1972)"Proud Mary" (directed by Babak Najafi, 2018)"The Equalizer 2" (directed by Antoine Fuqua, 2018)"White Fragility: Why It's So Hard for White People to Talk About Racism" (Robin DiAngelo, Beacon Press, 2018)"Super Fly" (directed by Gordon Parks Jr., 1972)"Dr. Black, Mr. Hyde" (Directed by William Crain, 1976)"Cotton Comes to Harlem" (Directed by Ossie Davis, 1970)"Mahogany" (Directed by Berry Gordy, 1975)"Dancing in the Moonlight" (Still Processing, 2016)

This week, we trace the evolution of black American cinema from blaxploitation in the 1970s to what we’re calling "blaxplaining" in 2018. While blaxploitation sought to showcase black actors in dramatic, action-packed films, today’s blaxplaining centers on the challenges of being black in America. We examine three films — "The Hate U Give," "Blindspotting" and "Sorry to Bother You" — and ask if they accurately depict aspects of contemporary black life, or instead merely seek to make some black experiences more palatable to white audiences.Discussed this week:<ul><li>"The Hate U Give" (directed by George Tillman Jr., 2018)</li><li>"Blindspotting" (directed by Carlos López Estrada, 2018) </li><li>"Sorry to Bother You" (directed by Boots Riley, 2018)</li><li>"Coffy" (directed by Jack Hill, 1973)</li><li>"Slaves" (directed by Herbert Biberman, 1969)</li><li>"Sweet Sweetback’s Baadasssss Song" (directed by Melvin Van Peebles, 1971)</li><li>"The Devil Finds Work" (by James Baldwin, 1976)</li><li>"Lady Sings the Blues" (directed by Sidney J. Furie, 1972)</li><li>"Mandingo" (directed by Richard Fleischer, 1975)</li><li>"Jaws" (directed by Steven Spielberg, 1975)</li><li>"Hammer" (directed by Bruce Clark, 1972)</li><li>"Truck Turner" (directed by Jonathan Kaplan, 1974)</li><li>"Shaft" (directed by Gordon Parks, 1971)</li><li>"Blacula" (directed by William Crain, 1972)</li><li>"Proud Mary" (directed by Babak Najafi, 2018)</li><li>"The Equalizer 2" (directed by Antoine Fuqua, 2018)</li><li>"White Fragility: Why It's So Hard for White People to Talk About Racism" (Robin DiAngelo, Beacon Press, 2018)</li><li>"Super Fly" (directed by Gordon Parks Jr., 1972)</li><li>"Dr. Black, Mr. Hyde" (Directed by William Crain, 1976)</li><li>"Cotton Comes to Harlem" (Directed by Ossie Davis, 1970)</li><li>"Mahogany" (Directed by Berry Gordy, 1975)</li><li>"<a href="https://www.nytimes.com/2016/11/03/podcasts/the-striking-humanity-of-moonlight.html" rel="nofollow" target="_blank">Dancing in the Moonlight</a>" (Still Processing, 2016)</li></ul>

We Blaxplain Blaxplaining

We were so blown away by Beyoncé’s performance at the Coachella music festival that we decided to scrap our previous plans and dedicate this week’s entire episode to it. We think her performance will go down in the annals of American pop music as one of the greatest live shows ever.We close read some of our favorite moments, including her beautiful rendition of the black national anthem, “Lift Ev’ry Voice and Sing,” and how she turns the swag surf into a dance for royalty. And we talk about the ways Beyoncé continues to shape-shift and grow as an artist, reinterpreting her own musical catalogue and making it richer, more sonorous and more black. We think about the ways black American music has always been misappropriated, and the ingenious way Beyoncé is pushing against that history, making music so skillful it can’t ever be replicated.Discussed This Week:“Kendrick Lamar Wins Pulitzer in ‘Big Moment for Hip-Hop’” (Joe Coscarelli, The New York Times)

We were so blown away by Beyoncé’s performance at the Coachella music festival that we decided to scrap our previous plans and dedicate this week’s entire episode to it. We think her performance will go down in the annals of American pop music as one of the greatest live shows ever. We close read some of our favorite moments, including her beautiful rendition of the black national anthem, “Lift Ev’ry Voice and Sing,” and how she turns the swag surf into a dance for royalty. And we talk about the ways Beyoncé continues to shape-shift and grow as an artist, reinterpreting her own musical catalogue and making it richer, more sonorous and more black. We think about the ways black American music has always been misappropriated, and the ingenious way Beyoncé is pushing against that history, making music so skillful it can’t ever be replicated. Discussed This Week: “<a href="https://www.nytimes.com/2018/04/16/arts/music/kendrick-lamar-pulitzer-prize-damn.html" rel="nofollow" target="_blank">Kendrick Lamar Wins Pulitzer in ‘Big Moment for Hip-Hop</a>’” (Joe Coscarelli, The New York Times)

We Talk BeyChella

For months, the two of us have been trying to figure out a way to have a conversation about the experience of being biracial. This week we just go for it. First, we talk about the cultural and historical suspicion America still has of black-white interracial romantic relationships. It gives us an excuse to revisit the reason ‘‘Get Out’’ has been one of the year’s major movies: It articulates the previously inarticulable about race. Then we consider the offspring of interracial coupling — whether the possibility of occupying two identities (or more) is a choice, a luxury or a delusion; and what fears, doubts or envy nonbiracial black Americans might feel about biracial black Americans. We drop in on Spike Lee’s ‘‘School Daze’’ and the sitcom ‘‘Black-ish.’’ We consider our feelings about Rashida Jones, Drake and Vin Diesel. We unpack the writings of Zadie Smith and Barack Obama. And we kind of have to ask: Aren’t we all a little bit mixed?

For months, the two of us have been trying to figure out a way to have a conversation about the experience of being biracial. This week we just go for it. First, we talk about the cultural and historical suspicion America still has of black-white interracial romantic relationships. It gives us an excuse to revisit the reason ‘‘Get Out’’ has been one of the year’s major movies: It articulates the previously inarticulable about race. Then we consider the offspring of interracial coupling — whether the possibility of occupying two identities (or more) is a choice, a luxury or a delusion; and what fears, doubts or envy nonbiracial black Americans might feel about biracial black Americans. We drop in on Spike Lee’s ‘‘School Daze’’ and the sitcom ‘‘Black-ish.’’ We consider our feelings about Rashida Jones, Drake and Vin Diesel. We unpack the writings of Zadie Smith and Barack Obama. And we kind of have to ask: Aren’t we all a little bit mixed?

We Get Biracial

“4:44” is Jay-Z’s first album since Beyoncé turned their marital trouble into a masterpiece called "Lemonade." On “4:44,” Jay-Z expresses regret for his infidelity and ruminates on the socioeconomic state of black America. The album is knotty and contradictory, especially when compared with the psychological clarity of "Lemonade." We spend the episode unpacking “4:44” as a work unto itself, and also in the context of “Lemonade.” We also discuss why the survival and performance of Jay-Z and Beyoncé’s marriage means so much to the culture and to us.

“4:44” is Jay-Z’s first album since Beyoncé turned their marital trouble into a masterpiece called "Lemonade." On “4:44,” Jay-Z expresses regret for his infidelity and ruminates on the socioeconomic state of black America. The album is knotty and contradictory, especially when compared with the psychological clarity of "Lemonade." We spend the episode unpacking “4:44” as a work unto itself, and also in the context of “Lemonade.” We also discuss why the survival and performance of Jay-Z and Beyoncé’s marriage means so much to the culture and to us.

We Get Bodied Talking Jay-Z and Beyoncé

The best episodes for anyone looking to learn more about topics such as happiness, fulfillment, depression and psychology/mental health in general. With interviews with industry experts, personal stories of individuals, this topic has lessons applicable to everyone. Add episodes you're interested into your queue below!

Best Episodes on Mental Health, Emotions & Thoughts

The best podcast episodes of the most interesting stories and things. From skyping someone while they're in space, to tracking down and meeting a telephone scammer in person, to the story of a Galapagos. These episodes will keep you and all your friends entertained and captivated for hours. Learn something new in every episode! Add episodes you're interested into your queue below!