Nico's got that funny feeling again, that the program the United States ran in South America for decades has come home. We talk about the uncanny feeling that has taken over the United States and how it has manifested itself in films, from John Frankenheimer's Seven Days in May to Alan Pakula's Parallax View to Paul Thomas Anderson's One Battle After Another. When the mirror is reflected only distortion, where does one go?

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In the industrial age, there was a widespread disruption of communities. Traditional methods of charity and redistribution of resources were undermined by the changing policies of the church, the military whims of the government severed trade routes and exchanges of money, and families were scattered as people looked for work. In Charlotte Bronte's Shirley, Caroline Helstone is trying to figure out what to do with her existence as she suffers the disappointment of being prevented from finding vocation. She and the other members of her community find themselves out of work, out of sorts, and in and out of respectable love, and try to make do with what is left over.

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In the creative economy, it is more profitable to be a dead creator than a living working writer. Or that is the lesson learned from the lawsuit the Michael Crichton estate filed against The Pitt. Crichton, who earned a quarter of a billion dollars for his contribution to the NBC show ER -- his contribution being a film script that was later adapted by someone else into a network pilot -- while the actual writers, actors, and crew made considerably less. Jessa and Nico talk about the writers who filed suit against AI, why Basquiat is in his most prolific era yet (37 years after his death), and the curse of the Frida Kahlo Barbie doll.

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One of the bestselling nonfiction books of the moment is a memoir about a wealthy and successful woman dealing with memories of horrific sexual assault by her teacher when she was in middle school. The only problem: her memories were "recovered" in therapy with the use of hallucinogens. Meaning they probably aren't real. And the author just so happens to have a stake in a company that is trying to get hallucinogens approved by the FDA for use in therapy to treat PTSD. Jessa and Nico talk about how the recovered memories craze of the 1980s led to our last great Satanic Panic, why everyone has PTSD now, and why women's media loves wishywashy fake memoirs about sexual assault.

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The political right has been looking for a George Floyd figure, a martyr they can name streets after and get protests around and use to pass sweeping legislation. But they have overplayed their hand with Charlie Kirk's death. Jessa and Nico sort through this cards-on-the-table moment on the right, where everyone is suddenly more sincere about where they stand than usual. So, Ted Cruz, Candace Owens, and Tucker Carlson: welcome to the resistance.

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When Cindy Bi hired a surrogate to carry her baby, she neglected to tell her that she had health issues that could put her life in danger. It turns out, she's not required to do so by law. And when the pregnancy went wrong and the child was lost, as reported in Wired Magazine, it opened up a legal, ethical hellmouth. Jessa and Nico discuss the gig economy's takeover of the womb, why the surrogacy industry is powerful yet almost entirely unregulated, and the baby market.

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When a man is down on his luck, what is he to do? His fortune squandered, his estate mishandled, his love unfaithful, Barry Lyndon goes to war, and to prison, and to the gambling table, and to Prussia, and to Ireland. He schemes his way, hoping to get back into the good graces of the universe, trying to manifest that happy ending he's put on his vision board. Jessa and Joseph discuss whether Barry is just another manifestation girlie, how politically useful the British found the Irish famine, and other adventures in capitalism and colonialism.

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The dumbest culture war in history continues, as the Trump administration seeks to purify the national collection of knickknacks and souvenirs. And the liberals are falling for it, declaring that this is just like the time the Nazis burned books and called art degenerate. As the bitter war over wall text next to a Papier-mâché Statue of Liberty continues, Jessa and Nico discuss the "museums are not neutral" stance progressives had, why a rich kid with an MFA from Yale is not Otto Dix, and one of the architects of the contemporary culture war, Victoria Coates.

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