The first of two discussions about your co-hosts’ respective book projects. Today we discuss Ex’s punk and postpunk’s literary history Lusty Scripts (Indiana University Press, 2017), which connects punk music to not only Hegel, Nietzsche, and Freud, but Dostoevsky, Burroughs, Henry Miller, Kafka, Genet, and Philip K. Dick. In detailing the punk bookshelf, Ex contends that punk’s literary and intellectual interests can be traced to the sense of shame and horror its advocates feel in the face of a shameless market economy that not only preoccupied many of punks’ favorite writers but in many ways generated the entire punk polemic as neoliberalism reared its ugly head in the middle-1970s.


In this first episode of 2019, Amos and Ex continue their discussion on “apocalypse” (or at least radical social critique) in television and film. In addition to talking about memes and news from Washington–Elizabeth Warren, Alexandria Ocasio-Cortez, etc.–the films/programs discussed today include Pump Up the Volume (1990), Fight Club (1999), Memento (2000), and Mr. Robot (2015-2019).


In this final episode of 2018, Amos and Ex chat about the apocalypse as imagined by Hollywood. Best and “worst” end of the world films, from zombie apocalypses to more serious science fiction films like Denis Villenueve’s Arrival (2016) to the Coens’ No Country for Old Men (2007) are explored. Also discussed is the notion that American film, as a artform, has come to an end.


Happy Holidays, yalls. Tis the season for your co-hosts to discuss the ways in which the Christian tradition especially seems to have lost its appetite for eschatological or end-of-days thinking (relative to the 1990s “Left Behind” hysteria) as we actually get closer to such a moment coming to pass. Likewise, given the “eschatological” utopianism embedded within some far left traditions, where are all the Marxists and anarchists these days when it comes to talking end of days?


They live, we sleep. Today Amos and Ex chat about the contemporary relevance of John Carpenter’s brilliant 1988 film They Live as a way in to discussion about the gilets jaunes/yellow vest “movement” in France, declining life expectancy in the United States, and China’s announcement that they’ve successfully used CRISPR to edit the human genome in a human embryo.