Before this I'd only ever seen one film by Mike Leigh, Spine 307: Naked (1993) which we watched like five years ago. I remember it being fairly dour. So when I found out we were watching a Mike Leigh musical period biopic about Gilbert and Sullivan writing an orientalist light opera, I was concerned and confused. Gilbert and Sullivan is not for me. Topsy-Turvy is for me. A story about art and capital, authenticity and caricature.

Before this I'd only ever seen one film by Mike Leigh, Spine 307: Naked (1993) which we watched like five years ago. I remember it being fairly dour. So when I found out we were watching a Mike Leigh musical period biopic about Gilbert and Sullivan writing an orientalist light opera, I was concerned and confused. Gilbert and Sullivan is not for me. Topsy-Turvy is for me. A story about art and capital, authenticity and caricature.

Spine 558: Topsy-Turvy

Rob Epstein's The Times of Harvey Milk (1984) is a poignant look at the assassination of the San Francisco Supervisor, his assassin, and his organizing paradigm. Not just fighting for gay rights, but helping to build a coalition for liberation, Milk's life as shown in the movie is an important lesson on movement building. Even if it were just that, I would recommend it to everyone. But beyond the 90 minute film, the Criterion release provides 3 hours of additional materials diving deeper into Milk's impact and legacy, making this release absolutely indispensable.

Rob Epstein's The Times of Harvey Milk (1984) is a poignant look at the assassination of the San Francisco Supervisor, his assassin, and his organizing paradigm. Not just fighting for gay rights, but helping to build a coalition for liberation, Milk's life as shown in the movie is an important lesson on movement building. Even if it were just that, I would recommend it to everyone. But beyond the 90 minute film, the Criterion release provides 3 hours of additional materials diving deeper into Milk's impact and legacy, making this release absolutely indispensable.

Spine 557: The Times of Harvey Milk

After years we finally get another Luchino Visconti film and it does not disappoint. Like The Leopard, Senso is set against the backdrop of the struggles of Italian unification, an idea that Visconti seems to have seen as analogous to the struggle to implement communism in his own time. Unlike The Leopard, Visconti takes a melodramatic love story and just shoves all that political stuff in there until it's about to burst. It's a beautiful film, thanks in no small part to the film's 3rd cinematographer, promoted cameraman Giuseppe Rotunno kicking off his illustrious career.

After years we finally get another Luchino Visconti film and it does not disappoint. Like The Leopard, Senso is set against the backdrop of the struggles of Italian unification, an idea that Visconti seems to have seen as analogous to the struggle to implement communism in his own time. Unlike The Leopard, Visconti takes a melodramatic love story and just shoves all that political stuff in there until it's about to burst. It's a beautiful film, thanks in no small part to the film's 3rd cinematographer, promoted cameraman Giuseppe Rotunno kicking off his illustrious career.

Spine 556: Senso

Every so often the Criterion Collection shows us exactly one movie from a director and will apparently never show us another. With very few exceptions we've loved these one-and-dones, and Alexander Mackendrick's Sweet Smell of Succcess is no outlier. It's very dark, it's very entertaining, and we'll never see anything from Mackendrick again.

Every so often the Criterion Collection shows us exactly one movie from a director and will apparently never show us another. With very few exceptions we've loved these one-and-dones, and Alexander Mackendrick's Sweet Smell of Succcess is no outlier. It's very dark, it's very entertaining, and we'll never see anything from Mackendrick again.

Spine 555: Sweet Smell of Success

Hirokazu Kore-eda's 2008 drama looks at a day in the life of a Japanese family, a day that just so happens to be the anniversary of the eldest son's death by drowning. It's a little bit Ozu, it's a little bit Naruse, and it's a wonderful exploration of the ways trauma and grief linger in family relationships.

Hirokazu Kore-eda's 2008 drama looks at a day in the life of a Japanese family, a day that just so happens to be the anniversary of the eldest son's death by drowning. It's a little bit Ozu, it's a little bit Naruse, and it's a wonderful exploration of the ways trauma and grief linger in family relationships.

Spine 554: Still Walking

Andrea Arnold's Fish Tank is, refreshingly, a "this is how the poor people live" movie from someone who actually grew up in similarly impoverished situations to the protagonists of their film. Criterion also provides us with 3 of Arnold's short films, each dealing with a similar theme to those that show up in the main film: young womanhood, single motherhood, and grief.

Andrea Arnold's Fish Tank is, refreshingly, a "this is how the poor people live" movie from someone who actually grew up in similarly impoverished situations to the protagonists of their film. Criterion also provides us with 3 of Arnold's short films, each dealing with a similar theme to those that show up in the main film: young womanhood, single motherhood, and grief.

Spine 553: Fish Tank

First a note: Sorry to have missed last week, but Adam was in the hospital after a bicycle accident left him with a fractured elbow. He's on the mend, and we should be back to the regular schedule. This week we're talking James L. Brooks office rom-com set against the changing background of 1980's newsrooms. 1987's Broadcast News is a fun movie, indicative in many ways of Brooks' decades writing cutting edge sitcoms. Unfortunately, he doesn't take the opportunity of a larger story to punch any harder.

First a note: Sorry to have missed last week, but Adam was in the hospital after a bicycle accident left him with a fractured elbow. He's on the mend, and we should be back to the regular schedule. This week we're talking James L. Brooks office rom-com set against the changing background of 1980's newsrooms. 1987's Broadcast News is a fun movie, indicative in many ways of Brooks' decades writing cutting edge sitcoms. Unfortunately, he doesn't take the opportunity of a larger story to punch any harder.

Spine 552: Broadcast News

Guillermo del Toro's first film, Cronos (1993), is flat out just a really great vampire flick, with an eye toward how the machinations of adults effect the children in their lives, like many of his best films. But that bit of family-focus isn't the only way Cronos rises above simple genre film, as del Toro uses the vampire to tell a story of capitalism and colonialism, and the particular evil that is created when Christianity unites with those powers and principalities.

Guillermo del Toro's first film, Cronos (1993), is flat out just a really great vampire flick, with an eye toward how the machinations of adults effect the children in their lives, like many of his best films. But that bit of family-focus isn't the only way Cronos rises above simple genre film, as del Toro uses the vampire to tell a story of capitalism and colonialism, and the particular evil that is created when Christianity unites with those powers and principalities.

Spine 551: Cronos

We finish up the America Lost and Found: The BBS Story boxset with one more film from producer, director, and one of the B's in BBS Bob Rafelson. The King of Marvin Gardens may have our favorite Jack Nicholson role of the bunch, and is a strong finish in a boxset that really ebbed and flowed for us. "It's Monopoly out there" is going to enter my lexicon.

We finish up the America Lost and Found: The BBS Story boxset with one more film from producer, director, and one of the B's in BBS Bob Rafelson. The King of Marvin Gardens may have our favorite Jack Nicholson role of the bunch, and is a strong finish in a boxset that really ebbed and flowed for us. "It's Monopoly out there" is going to enter my lexicon.

Spine 550: The King of Marvin Gardens

America Lost and Found: The BBS Story has been really up and down for us, but Peter Bogdanovich's The Last Picture Show (1971) is definitely toward the top. Stylistically and homage to John Ford (and, to a lesser extent, Howard Hawks), this coming of age story is set in the 50s but still manages to engage in the politics of the early 70s better than a lot of the other movies we've watched this last month.

America Lost and Found: The BBS Story has been really up and down for us, but Peter Bogdanovich's The Last Picture Show (1971) is definitely toward the top. Stylistically and homage to John Ford (and, to a lesser extent, Howard Hawks), this coming of age story is set in the 50s but still manages to engage in the politics of the early 70s better than a lot of the other movies we've watched this last month.

Spine 549: The Last Picture Show

The Adam Glass and John Patrick Owatari-Dorgan attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection. Want to support us? We’ll love you for it: www.Patreon.com/LostInCriterion

Smug, moralistic readings of Eric Rohmer’s work. You hate to see it.

Woof

I listened to their review of Terry Gilliam’s “Fear and Loathing in Las Vegas” movie. Boring review. One guy talks and the other guy laughs and giggles. They’re not talking to the audience as much as they’re talking to each other. I was appalled that neither of them had read the book on which the movie is closely based.

One guy talks, the other guy laughs

The Adam Glass and John Patrick Owatari-Dorgan attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection. Want to support us? We’ll love you for it: <a href="http://www.Patreon.com/LostInCriterion" rel="nofollow" target="_blank">www.Patreon.com/LostInCriterion</a>

Lost in Criterion

Before we started our journey of Lost in Criterion I owned two Criterion films: The Third Man and F for Fake. They also happen to be the two movies I most enjoy sharing with other people. I got to make my dear friend Pat watch The Third Man just over four years ago, and now I finally force him to watch F for Fake. Directed, or perhaps curated, by Orson Welles with footage also directed by François Reichenbach, Oja Kodar, and Gary Graver, F for Fake is a sort of film essay about perceived expertise and fakery. It's a lesson we'll always need.

Before we started our journey of Lost in Criterion I owned two Criterion films: The Third Man and F for Fake. They also happen to be the two movies I most enjoy sharing with other people. I got to make my dear friend Pat watch The Third Man just over four years ago, and now I finally force him to watch F for Fake. Directed, or perhaps curated, by Orson Welles with footage also directed by François Reichenbach, Oja Kodar, and Gary Graver, F for Fake is a sort of film essay about perceived expertise and fakery. It's a lesson we'll always need.

Spine 288: F for Fake

The Criterion Collection sure loves Shakespeare. Turns out so does Kurosawa, though sometimes by accident? Throne of Blood is rather objectively the best adaptation of MacBeth that exists. Soon we’ll watch The Bad Sleep Well which could be Hamlet but it might be better to not think of it as Hamlet — we’ll get into that in a few weeks. This week in the middle is Ran, which Kurosawa wrote, then someone pointed out that it sounded a lot like King Lear, so Kurosawa rewrote it to lean into the comparison. Donovan Hill joins us once again.

The Criterion Collection sure loves Shakespeare. Turns out so does Kurosawa, though sometimes by accident? Throne of Blood is rather objectively the best adaptation of MacBeth that exists. Soon we’ll watch The Bad Sleep Well which could be Hamlet but it might be better to not think of it as Hamlet — we’ll get into that in a few weeks. This week in the middle is Ran, which Kurosawa wrote, then someone pointed out that it sounded a lot like King Lear, so Kurosawa rewrote it to lean into the comparison. Donovan Hill joins us once again.

Spine 316: Ran    

What happens when a man is so singularly obsessed with possessing a woman that he doesn't even pay attention to who she is? It's a question possibly only accidentally asked by Luis Bunuel in That Obscure Object of Desire (1977). Bunuel's final film, it is also arguably rather autobiographical, and from what we've learned from Bunuel he is the sort of self-deluded fool that thinks he knows himself so well to make a film like this as autobiographical. While it certainly contains Bunuel's common satire of the upperclass, this film subdues his famous surreality into just how people react, or don't react, to what's going on around them. Oh, and the female lead is played by two different women and no one notices. The film is either brilliant or really dumb. Or both.

What happens when a man is so singularly obsessed with possessing a woman that he doesn't even pay attention to who she is? It's a question possibly only accidentally asked by Luis Bunuel in That Obscure Object of Desire (1977). Bunuel's final film, it is also arguably rather autobiographical, and from what we've learned from Bunuel he is the sort of self-deluded fool that thinks he knows himself so well to make a film like this as autobiographical. While it certainly contains Bunuel's common satire of the upperclass, this film subdues his famous surreality into just how people react, or don't react, to what's going on around them. Oh, and the female lead is played by two different women and no one notices. The film is either brilliant or really dumb. Or both.

Spine 143: That Obscure Object of Desire

Federico Fellini's 1963 navel-gazing comedy-drama 8 1/2 -- named for how many films he'd reckoned he'd made at the time -- may prove that Fellini is self-aware but it also prove that knowing and acknowledging your problems doesn't automatically absolve you of them. Still, Fellini's acknowledgement that he -- or at least his stand-in character Guido -- is really not very good at life is pretty entertaining.

Federico Fellini's 1963 navel-gazing comedy-drama 8 1/2 -- named for how many films he'd reckoned he'd made at the time -- may prove that Fellini is self-aware but it also prove that knowing and acknowledging your problems doesn't automatically absolve you of them. Still, Fellini's acknowledgement that he -- or at least his stand-in character Guido -- is really not very good at life is pretty entertaining.

Spine 140: 8 1/2

Toshiro Mifune and Takashi Shimura are two of the greatest actors of the 20th century. It happens that they also frequently collaborated with one another and with some of the greatest film directors to come out of mid-century Japan. As such, it seems they may be the actors who most often appear in the Criterion Collection as well, though it's hard to track that information without it becoming a whole new obsession. They costar in Stray Dog under the helm of Criterion standard Akira Kurosawa from 1949 and it would be a feat of pure disaster if all that talent didn't make for an amazing film. Plus it's a police procedural! Who doesn't love a good police procedural?

Toshiro Mifune and Takashi Shimura are two of the greatest actors of the 20th century. It happens that they also frequently collaborated with one another and with some of the greatest film directors to come out of mid-century Japan. As such, it seems they may be the actors who most often appear in the Criterion Collection as well, though it's hard to track that information without it becoming a whole new obsession. They costar in Stray Dog under the helm of Criterion standard Akira Kurosawa from 1949 and it would be a feat of pure disaster if all that talent didn't make for an amazing film. Plus it's a police procedural! Who doesn't love a good police procedural?

Spine 233: Stray Dog

We last heard from Noah Baumbach as the cowriter of Wes Anderson’s The Life Aquatic with Steve Zissou. One of our many guests on that 300th episode, Ben Jones-White, insisted that when we got around to doing Baumbach’s own feature debut he should join us, and nearly a year later we make good on that offer. Kicking and Screaming shares a lot of DNA with movies we love in and out of the Collection. It’s also the story of people a lot like I was in college. I hate them. Our guest Ben also works with WikiTongues, an organization dedicated to documenting and saving languages all over the world. If you have the resources please support their work.

We last heard from Noah Baumbach as the cowriter of Wes Anderson’s The Life Aquatic with Steve Zissou. One of our many guests on that 300th episode, Ben Jones-White, insisted that when we got around to doing Baumbach’s own feature debut he should join us, and nearly a year later we make good on that offer. Kicking and Screaming shares a lot of DNA with movies we love in and out of the Collection. It’s also the story of people a lot like I was in college. I hate them. Our guest Ben also works with <a href="https://wikitongues.org" rel="nofollow" target="_blank">WikiTongues</a>, an organization dedicated to documenting and saving languages all over the world. If you have the resources please support their work.

Spine 349: Kicking and Screaming

Jean Gabin really likes trains. Jean Renoir also really likes trains. They wanted to make a train movie, and any train movie would do. So why not one that also includes murrrrrrrrder? La Bete Humaine has a lot of bad psychology and therefore some bad social commentary. It also misses a theme from the original novel that it seems like Renoir and Gabin — who had just finished The Grand Illusion — should have leaned into but instead ignored. But it does have trains! Lots and lots of trains!

Jean Gabin really likes trains. Jean Renoir also really likes trains. They wanted to make a train movie, and any train movie would do. So why not one that also includes murrrrrrrrder? La Bete Humaine has a lot of bad psychology and therefore some bad social commentary. It also misses a theme from the original novel that it seems like Renoir and Gabin — who had just finished The Grand Illusion — should have leaned into but instead ignored. But it does have trains! <a href="https://www.youtube.com/watch?v=q2_I0EGhcB4" rel="nofollow" target="_blank">Lots and lots of trains</a>!

Spine 324: La bête humaine

We spend a lot of time this week talking about Wong Kar-Wai's In the Mood for Love, and on the one hand I feel a bit bad in seeing one Chinese language film and talking about it a lot in comparison to one of the only other Chinese language films the Collection has given us, but on the other Edward Yang’s Yi Yi came out the same year and is Love’s equal in nearly every way and Love is a masterpiece. They are, rightfully, listed as two of the top (often two of the top three) films of the 21st century, and I think objectively they are at the top of the best films outside that century as well. Yi Yi is just amazing (with the possible exception of one artisitc choice I just don’t like, but I don’t know if it’s objectively bad).

We spend a lot of time this week talking about Wong Kar-Wai's In the Mood for Love, and on the one hand I feel a bit bad in seeing one Chinese language film and talking about it a lot in comparison to one of the only other Chinese language films the Collection has given us, but on the other Edward Yang’s Yi Yi came out the same year and is Love’s equal in nearly every way and Love is a masterpiece. They are, rightfully, listed as two of the top (often two of the top three) films of the 21st century, and I think objectively they are at the top of the best films outside that century as well. Yi Yi is just amazing (with the possible exception of one artisitc choice I just don’t like, but I don’t know if it’s objectively bad).

Spine 339: Yi Yi

Gus Van Sant originally started writing the film that would become My Own Private Idaho in the 70s, and wrote the other two films that would become My Own Private Idaho sometime before the film came out in 1991. Somehow despite the fact that it is very clear which portions of the final film come from the Shakespeare modernization script the film works cohesively -- just with wild changes in tone.

Gus Van Sant originally started writing the film that would become My Own Private Idaho in the 70s, and wrote the other two films that would become My Own Private Idaho sometime before the film came out in 1991. Somehow despite the fact that it is very clear which portions of the final film come from the Shakespeare modernization script the film works cohesively -- just with wild changes in tone.

Spine 277: My Own Private Idaho

Alec Guinness first tried to read Joyce Cary's The Horse's Mouth during World War II, but couldn't bear its stream-of-consciousness narrative. Sometime later his wife impressed upon him to give it another shot and he went on to adapt it into a screenplay. Ronald Neame was brought into direct the resulting film, released in 1958, with Guinness staring as the eccentric artist Gulley Jimson. It's often called his funniest film, which is a pretty tough crowd to beat out. Personally, I'd lean toward Murder by Death or Kind Hearts and Coronets for that honor, but The Horse's Mouth is right up there, and quite a bit more poignant even as a comedy.

Alec Guinness first tried to read Joyce Cary's The Horse's Mouth during World War II, but couldn't bear its stream-of-consciousness narrative. Sometime later his wife impressed upon him to give it another shot and he went on to adapt it into a screenplay. Ronald Neame was brought into direct the resulting film, released in 1958, with Guinness staring as the eccentric artist Gulley Jimson. It's often called his funniest film, which is a pretty tough crowd to beat out. Personally, I'd lean toward Murder by Death or Kind Hearts and Coronets for that honor, but The Horse's Mouth is right up there, and quite a bit more poignant even as a comedy.

Spine 154: The Horse's Mouth

After our run of later period, more biographical Louis Malle films a few weeks ago we swing back with his first feature length, which is a different sort of master work than Au Revoir les Enfants but still sticks with me. Elevator to the Gallows, or Lift to the Scaffold as the British (and Pat) demand to call it, is a noir murder with a bit of Bunuelian stream of consciousness thrown in and a level of suspense fit for Hitchcock if not Clouzot. And all that name-dropping aside, it’s also just a really good film.

After our run of later period, more biographical Louis Malle films a few weeks ago we swing back with his first feature length, which is a different sort of master work than Au Revoir les Enfants but still sticks with me. Elevator to the Gallows, or Lift to the Scaffold as the British (and Pat) demand to call it, is a noir murder with a bit of Bunuelian stream of consciousness thrown in and a level of suspense fit for Hitchcock if not Clouzot. And all that name-dropping aside, it’s also just a really good film.

Spine 335: Elevator to the Gallows

Robert Altman has had a long and varied career and Pat and I have only been familiar with his commercial highlights: M.A.S.H., Popeye -- plus for some reason I've seen Gosford Park and A Prairie Home Companion. None of them in the Collection though Altman does make quite a showing. His first film that Criterion presents to us is 3 Women from 1977, a surreal and dreamlike drama of identity theft, which is appropriate since apparently Altman was inspired to make the film from a dream that he was making a film in the desert with Shelly Duvall and Sissy Spacek and decided that, hey, he should do that.

Robert Altman has had a long and varied career and Pat and I have only been familiar with his commercial highlights: M.A.S.H., Popeye -- plus for some reason I've seen Gosford Park and A Prairie Home Companion. None of them in the Collection though Altman does make quite a showing. His first film that Criterion presents to us is 3 Women from 1977, a surreal and dreamlike drama of identity theft, which is appropriate since apparently Altman was inspired to make the film from a dream that he was making a film in the desert with Shelly Duvall and Sissy Spacek and decided that, hey, he should do that.

Spine 230: 3 Women

Wong Kar-Wai's In the Mood for Love. Such a beautiful and poetic film. Released in 2000, a scant three years after the British returned rule to China, a time of many questions and possibilities, the film tells the store of a love parallelogram that for better, or usually worse, can't quite come together. There's little to say here except watch it? And give us a listen.

Wong Kar-Wai's In the Mood for Love. Such a beautiful and poetic film. Released in 2000, a scant three years after the British returned rule to China, a time of many questions and possibilities, the film tells the store of a love parallelogram that for better, or usually worse, can't quite come together. There's little to say here except watch it? And give us a listen.

Spine 147: In the Mood for Love

A little over three years ago Lost in Criterion watched the first film in a trilogy of sorts by Michelangelo Antonioni. We were not impressed with L'Avventura, but could it be that by the the last film of the trilogy we'd could get into a Antonioni film? Marginally! 1962's L'Eclisse isn't quite as tedious as I remember L'Avventura being, though I think I'm understanding Antonioni's perspective a bit better now. If there's one thing long time listeners may have noticed, it's that the longer we spend in the Criterion Collection the less Lost we feel -- but that doesn't mean we can't still feel totally Lost at times. Anyway, there's still the fact that I watched L'Eclisse twice and when I sat down to edit this week's episode I couldn't remember a thing about it. Though to be fair to myself I've also watched Groundhog Day 12 times in the intervening 3 weeks, so my brain is a bit fried.

A little over three years ago Lost in Criterion watched the first film in a trilogy of sorts by Michelangelo Antonioni. We were not impressed with L'Avventura, but could it be that by the the last film of the trilogy we'd could get into a Antonioni film? Marginally! 1962's L'Eclisse isn't quite as tedious as I remember L'Avventura being, though I think I'm understanding Antonioni's perspective a bit better now. If there's one thing long time listeners may have noticed, it's that the longer we spend in the Criterion Collection the less Lost we feel -- but that doesn't mean we can't still feel totally Lost at times. Anyway, there's still the fact that I watched L'Eclisse twice and when I sat down to edit this week's episode I couldn't remember a thing about it. Though to be fair to myself I've also watched <a href="https://www.instagram.com/p/Bef0-PEA1Un/" rel="nofollow" target="_blank">Groundhog Day 12 times</a> in the intervening 3 weeks, so my brain is a bit fried.

Spine 278: L'Eclisse

We get to watch a movie about a donkey! But the donkey doesn't talk. It's not animated. It's depressing. I'd call au hasard Balthazar peak Bresson, but I'm betting Robert Bresson will keep surprising me. In any case this is the third and final in a string of films that claims inspiration from Fyodor Dostoevsky, and it certainly fits with the Russians' tone (though perhaps not his religiosity).

We get to watch a movie about a donkey! But the donkey doesn't talk. It's not animated. It's depressing. I'd call au hasard Balthazar peak Bresson, but I'm betting Robert Bresson will keep surprising me. In any case this is the third and final in a string of films that claims inspiration from Fyodor Dostoevsky, and it certainly fits with the Russians' tone (though perhaps not his religiosity).

Spine 297: au hasard Balthazar

This outing I think Eric Rohmer may have been trying to make a parody of Lolita by introducing a woman with a predilection for underaged men who convinces her male friend to try to seduce a couple underaged young women, but like as a goof. He gets a little too involved.

This outing I think Eric Rohmer may have been trying to make a parody of Lolita by introducing a woman with a predilection for underaged men who convinces her male friend to try to seduce a couple underaged young women, <a href="https://www.youtube.com/watch?v=cz0LY0I5bLA" rel="nofollow" target="_blank">but like as a goof</a>. He gets a little too involved.

Spine 347: Six Moral Tales: Claire's Knee

Richard Linklater's Slacker kicked off the American indie scene of the 90's for better or worse (Kevin Smith cites the film as inspiration for making Clerks). Criterion dates the release as 1991 which is when it won at Sundance, though it floated around for at least a year before that, premiering in Austin in June of 1990 and having principally been shot in 1989. There's a lot here that under other circumstances I'd hate, mainly all the people spouting bad philosophy less toward other characters and more toward the camera, but you know what? It works here. It works beautifully.

Richard Linklater's Slacker kicked off the American indie scene of the 90's for better or worse (Kevin Smith cites the film as inspiration for making Clerks). Criterion dates the release as 1991 which is when it won at Sundance, though it floated around for at least a year before that, premiering in Austin in June of 1990 and having principally been shot in 1989. There's a lot here that under other circumstances I'd hate, mainly all the people spouting bad philosophy less toward other characters and more toward the camera, but you know what? It works here. It works beautifully.

Spine 247: Slacker

The best philosophy podcast episodes. Asking questions about how to live a better life, what it means to be and do good, to the idea of God. This topic includes episodes that bring about important questions that everyone should be asking themselves. Add episodes you're interested into your queue below!

Best Episodes on Practical Philosophy & How To Live

The best podcasts on investing. For anyone interested in the stories in the investing industry, whether it's an interview with Ray Dalio or Ed Thorp to the writer of The Big Short. This topic includes the most fascinating stories from all the best investors. Add episodes you're interested into your queue below!