Continuing on the "Spirit" section of The Phenomenology of Spirit, giving a sort of social metaphysics, wherein the ethical life of a society is analyzed into two complementary types of law, human (explicit laws but also customs) and what Hegel calls "divine" (a subconscious ethical sense represented by the home and women).

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What is it worth raising an objection over, and how hard do you fight? We hear (and act out) Mary's roommate-searching trauma, plus Mary for President, curiosity about bellicose Twitter, respect vs. reverence, rationality and religion, dealing with QAnon believers, family Thanksgiving, giving someone else a name, vegetarianism, and the angel of philosophy.

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In light of the now-completed black history month and the upcoming Oscars, we consider the "Oscars So White" issue that was a hot topic about a decade ago.

We all tried to watch some of the Oscar-nominated films by black creators, like Twelve Years a Slave, Moonlight, Judas and the Black Messiah, Boyz in Da Hood, et al. What makes for a critically lauded drama in this genre? Does a film have to have black creators (not just stars) to be an authentically black film? Are such films destined for a niche audience? Mark, Lawrence, Sarahlyn and Al discuss.

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On. G.W.F. Hegel's The Phenomenology of Spirit (1807), sec. 438-463. What constitutes society?

We're beginning a multi-episode arc here on the "Spirit" chapter of the book, so we learn what Spirit actually is and how it relates to individuals. We also talk about the two layers of law that make up society and how these can be in or out of harmony.

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John has released at least fifteen albums, more than half of these under the name King Missile, but even this name covers three different bands, since John until recently didn't play any instruments, so his music is always collaborative with one or more music writers. Apart from his various musical projects, he's published around 50 books of poetry and publishes poems every day on his Facebook page.

We discuss "Her Cock is True" from the yet-to-be-released King Missile album Quest for Fire, "Eating People" from The Psychopathology of Everyday Life (2003), and "Sensitive Artist" from Fluting on the Hump (1987). End song: "Garden" by You, Me and This Fuckin' Guy from Garden Variety Fuckers (2020). Intro: "Detachable Penis" from Happy Hour (1992).

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In our continuing Q&A with Graham, we engage him about Kantian Things-In-Themselves, complex things (that if divided, must be cut at the joints) vs. mere heaps, fact ontology, natural kinds, fictional objects, why philosophy is not knowledge, and philosophical style.

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Jerome is an LA composer/director/screenwriter who is involved in a lot of musical improv, so Mary and Mark interview him about that and about the function of art, plus songs for pets, a support group for people who sing all the time, and more.

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When we don't know much about some genius playwright's life, why not make up some things based on the contents of his plays? Maybe put Shakespearean dialogue right in character's mouths, so the audience will say, "hey, I remember that line!"

Mark, Lawrence, Sarahlyn, and Al talk through the Chloe Zhao Oscar-bait historical drama, Hamnet, and its source, the 2020 novel by Maggie O'Farrell. Is the film great, or just "grief porn"? Plus, Shakespeare in Love and other biopics.

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An interview with Graham in light of his new book, Waves and Stones: On the Ultimate Nature of Reality, which elaborates and adds to issues that the gang previously studied in Object-Oriented Ontology.

Graham argues that in addition to objects (which have parts), there are continua, such as space and time, and these continua are the links that allow otherwise forever separated objects to touch each other.

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Folky singer/songwriter and psychotherapist Robert started in the '80s but considers 1994 his professional debut and has now released his seventh album since then, The Space Between Us.

We discuss "Attic of Desire" (and the intro is "The Forest From the Tree") from that album, plus "Uncertain" from Beloved (2017), the title track from Earthside Down (1998). End song: "Rock A Bye" feat. Victoria Williams from Days Like These (1994). More at robertdeeble.com.

Watch Robert's video for "The Forest From the Tree." The previous version of "Attic of Desire" was called "A Formal Apology" from Thirteen Stories (2003). Watch Robert and his band play "Earthside Down" live in 2002.

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We consider chapter 2, "Aesthetics Is the Root of All Philosophy," where Harman describes how art can help us see behind the veil to things-in-themselves. Art is "theatrical" in that it's really the spectator who is standing in like an actor for the object encountered in art.

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