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In our increasingly distrusting and polarized world, accusations of hypocrisy are everywhere. But our attempts to stamp out hypocrisy may backfire, creating what Michael Hallsworth calls The Hypocrisy Trap. In his book The Hypocrisy Trap: How Changing What We Criticize Can Improve Our Lives (MIT Press, 2026) Hallsworth shows how our relentless drive to expose inconsistency between words and deeds can actually breed more hypocrisy and cynicism that corrodes our institutions. Through engaging stories and original research, he argues that while some forms of hypocrisy destroy trust and create harm, others reflect the inevitable compromises of human nature and complex societies. This book offers practical solutions for increasing consistency, navigating accusations wisely, and changing how we judge others’ actions. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It’s the Pop Culture Professors, and the New York Times has published its list of the best 100 television shows of the 21st Century. We react to this list, ponder what is underrated, overrated, and completely snubbed, and question the value of grand lists in an age of micro-cultures. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Thomas Schatz returns us to an era when a newly enriched movie industry rediscovered its creative energy, and indie went mainstream without losing its edge.Between 1989 and 2004, all the old studios either merged with other media giants or were swallowed up by even bigger diversified behemoths, leading to an infusion of money and fast-tracking the digital revolution. Yet even as CGI and piles of cash fueled a new breed of blockbusters—Batman and Titanic, Toy Story and The Lord of the Rings—an indie ethos permeated the industry. And at the crossroads of commodification and aesthetic vision, auteurs ranging from Steven Soderbergh and Quentin Tarantino to Sofia Coppola and Ang Lee became household names.Power Surge: Conglomerate Hollywood and the Studio System's Last Hurrah with Thomas Schatz (U California Press, 2026) traces these trajectories, which increasingly clashed and commingled during the 1990s and early 2000s, resulting in nothing short of a new golden age—and perhaps the last gasp of the century-old studio system. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Climate action is at an impasse. Its political opponents are stronger than ever, its advocates powerless. Almost every major government and corporation expresses their commitment to tackling climate change, yet decades of discussion, governance, and action have failed to stop carbon emissions advancing to record annual levels. How has so little been achieved for so long on such an urgent issue? In Climate Hegemony: Confronting the Politics of Environmental Impasse (LSE Press, 2026), Laurie Parsons shows how the architecture of environmental thinking has been locked into ineffective pathways. We don’t need to be coerced into inaction on climate, because our understanding is constrained by metaphors, rhetoric and assumptions so embedded we have long since ceased to see them. To confront this, Climate Hegemony brings us a human’s-eye view of the climate crisis, building up from lived experience to reveal the interests and politics that underpin the impasse. Drawing on almost two decades’ research at the frontline of global development in Cambodia, Parsons reveals the chasm between how climate change appears in a newspaper, or a policy bulletin, and how it appears to those immersed in the places it affects. From this perspective, the limitations of current environmental thinking become clear, but so too do a great many alternatives. In this powerfully argued work, Parsons set out how, if we were to rethink the perspective from which we understand climate change, we can build knowledge from and for marginalised communities, from the ground upwards, challenging the impasse and creating new pathways to address and adapt to the social impacts of climate breakdown. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

How was drama experienced in early modern China? It was not tied to a single medium such as the page or the stage, but operated in a media ecology—an environment in which it integrated other arts and media while being refashioned in a variety of arts and media. Playing with Plays: Drama and Early Modern Chinese Media Ecologies (Brill, 2025)explores a wide range of cultural experimentation, collectively termed “playing with plays:” the theatricality embedded in commentary, the poetic and visual imagination arising from drama illustrations, the interactions between reading and singing arias, the imbrication of reading plays and practicing religion, and the ludic act of writing playful essays on drama. Through engaging these disparate phenomena with media studies, the book advances a new model for thinking about drama history, and shows the entwinement of plays and different forms of media in shaping perception, molding experience, and enabling new subject positions to emerge in early modern China. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When the Taiwanese political drama Wave Makers appeared in April 2023, few anticipated its impact beyond the screen. Within weeks, survivors in politics, the media, academia and the arts began sharing experiences of sexual harassment and assault, giving momentum to Taiwan’s long-delayed #MeToo movement.  XinLing Li’s new book, Wave Makers and the Rise of #MeToo in Taiwan: Media, Empathy, and Digital Testimony (Anthem Press, 2026), asks how a fictional series became a cultural catalyst. Li argues that the drama gave form to experiences that had remained unspoken, while social media allowed personal testimony to circulate without institutional permission.  The book is part of the new short-book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.  In this podcast, Dr Ming-yeh T. Rawnsley talks with Dr Li about television, empathy, digital testimony, and the opportunities and inequalities within Taiwan's #MeToo movement. Themes include:  Why Taiwan’s #MeToo movement came late - the gap between progressive laws and the cultural conditions that still discourage survivors from speaking.The ‘perfect victim’ - how Wave Makers challenges the assumption that only women who conform to conventional ideas of femininity deserve belief and justice.The feminist snap - why the line ‘Let’s not just let it go this time’ gave viewers a language for recognising accumulated injustice.Empathy and narrative identity - how fictional characters help audiences interpret their own experiences and respond to others.Digital testimony and affective publics - how social media weakens traditional gatekeeping while introducing new risks and struggles for attention.Women’s solidarity - how the drama examines agency, family relationships and the historical expectation that women define themselves through men.The limits of visibility - why migrant domestic workers remain especially vulnerable and often unable to speak without risking their livelihoods or immigration status. One of the book’s most compelling arguments is that art can give structure to what Raymond Williams called ‘emergent feelings’: experiences without an accepted public language. Through recognisable characters and an accessible story, Wave Makers transformed a familiar instruction to remain silent – ‘just let it go’ – into a shared refusal.  The podcast also considers how the hashtag changes testimony. Survivors can now address audiences directly, rather than relying entirely on journalists and other institutional gatekeepers. Yet visibility remains uneven. Stories involving celebrities and senior politicians attract attention more readily than those of migrant domestic workers, who may face dismissal, loss of visa status or deportation if they speak publicly.  Li is cautious about treating Wave Makers as a formula for political change. No television programme can produce a movement on demand. Popular culture can nevertheless offer language and recognition when audiences are ready to respond.  The story of Wave Makers is ultimately about the unpredictable movement between fiction and public life: a drama helped people recognise experiences they had been encouraged to dismiss, while digital platforms allowed the words ‘me too’ to become testimony, solidarity and action. Dr Ming-yeh T. Rawnsley is a Research Associate at the Centre of Taiwan Studies, SOAS University of London, and a host for the New Books Network. She is also a co-editor (with Professor Gary Rawnsley) of the short-book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.  Dr Xinling Li is an independent scholar based in New York. He studied at Cambridge University.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Projecting Knowledge: The Optical Lantern and Science Communication, 1880s-1940s (Brepols, 2026) takes one of those fundamental questions - how does knowledge circulate? - and says, like others: we must look at the media technologies through which that knowledge not only circulates, but is transformed. This edited collection does that by looking at the history of the projection lantern across the late 19th and early 20th centuries. The projection lantern, also known as the 'magic lantern', 'optical lantern', and 'sciopticon', amongst other names, is part of a long history of media technologies and techniques that have allowed users to project images onto surfaces for audiences to view. The optical lantern helped the projected image become a ubiquitous form of media, known by wide and diverse publics during a wave of 19th century media popularisation.  From the 1880s until well into the twentieth century, the optical lantern was an immensely important tool to disseminate knowledge both within and outside academia, particularly in Western Europe and the United States. This volume maps the lantern-illustrated lecture from various perspectives, with contributions on how to research historical audiences, on the spaces where projection was used, on the role of images as evidence, on the shifts in pedagogy that were supported by the projected image, and on the archives and sources that provide access to material that allows an understanding of the multiple ways in which the medium was used. Projecting Knowledge was edited by Dulce da Rocha Gonçalves, Nico de Klerk, Frank Kessler, and Jamilla Notebaard. Dulce da Rocha Gonçalves is a historian interested in the cultural dimensions of media, science, and technology. She earned her PhD at Utrecht University within the research project Projecting Knowledge, producing the first large-scale survey of public lantern lectures in Dutch society from the late nineteenth century to the Second World War. She currently holds a postdoctoral position in the Technology, Innovation & Society group at Eindhoven University of Technology.Nico de Klerk is an independent researcher and archivist in the field of film and media history. Between 2018 and 2023, he was a postdoctoral researcher in the project Projecting Knowledge at Utrecht University, which partly overlapped with his research for the project Educational Film Practices in Austria, 1918-1970, at the Ludwig Boltzmann Institut for Digital History, Vienna. His current research focuses on the film-illustrated lecture in the Netherlands between c. 1910 and 1940. Frank Kessler is professor emeritus of Media History at Utrecht University. He is one of the founders of KINtop. Jahrbuch zur Erforschung des frühen Films and the KINtop – Studies in Early Cinema book series. His research interests focus on the emergence of cinema as a multi-facetted medium and a cultural form, as well as on nineteenth-century visual media. His most recent research is dedicated the optical lantern as a tool for knowledge communication. Jamilla Notebaard is a historian whose doctoral research explored the use of the magic lantern in Dutch academic education at the end of the nineteenth century. Her work reflects a deep interest in the history of science, particularly in the epistemic role of images in shaping knowledge within scholarly communities and beyond. She investigates how visual representations function as carriers of meaning, influencing both collective understanding and individual perception. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We are in a state of crisis. Democracy is under threat, authoritarian politics are on the rise, and digital media—once heralded as emancipatory technologies—are increasingly implicated in democratic erosion. The Discursive-Digital Link offers a critical framework for understanding the entangled relationships between discourse, digital media, and the hidden dynamics behind antagonism and polarisation. The Discursive-Digital Link: Antagonism and Polarisation in Digital Spaces (Routledge, 2025) presents a fluid social ontology that theorises how discourses and digital communication technologies are inseparably entangled, and how this entanglement contributes to the formation of complex hierarchical relations. Drawing on discourse theory and new materialist perspectives, Dehghan maps how the various components of the discursive-digital link—users, collectives, identities, the medium’s design, underlying neoliberal capitalist logics, and structural power dynamics—together shape antagonistic frontiers in digital spaces. Through detailed case studies across multiple digital media, Dehghan demonstrates how these entanglements manifest through different articulatory logics that could transform societies towards either agonistic progress or disastrous polarisation. By revealing the logics of discursive-digital alliances and active passivity, Dehghan provides critical insights for academics, activists, and anyone seeking to foster progressive togetherness. The Discursive-Digital Link offers a powerful theoretical framework and methodology for analysing digitally mediated communication. It challenges monolithic understandings of polarisation, technological solutionism, and symptom-focused approaches, instead advocating for radical structural interventions across all entangled components of the discursive-digital link—a necessary shift in both academic research and progressive political strategy to address the democratic crises of our time.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Strange and Familiar History of Byzantine Ar: Interpretation, Risk, and Empathy (ARC Humanities Press, 2026) represents a risky experiment in art-history writing. It takes objects of Byzantine art—manuscript illustration, frescos, mosaic, sculpture—and reads them through the lenses of disability studies, media studies, and gender studies in order to reveal something about their significance not only in that historical culture, but also in our own. Moreover, it uses lenses of personal history and self-reflection as a way to model an open-ended and faceted art history. Modern works of film, fiction, and art likewise appear frequently so that the Byzantine objects can emerge as both more strange and more familiar, and as both of the past and of our world. Their capacity for holding multiple times, generating multiple meanings, and for multiple subjectivities is fully embraced, and perhaps a different kind of art history emerges, one that eschews argument and mastery for humility, openness, empathy—thinking with, rather than about. New Books in Late Antiquity is Presented by Ancient Jew Review Glenn Peers is Emeritus Professor, Art History at University of Texas Austin and Syracuse University Michael Motia teaches in Classics and Religious Studies at UMass Boston Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Kahlil Joseph has collaborated with musicians FKA twigs, Flying Lotus, Sampha and Shabazz Palaces among many others. He has directed numerous films, music videos and advertisements across Africa, America and Europe. The award-winning filmmaker's disruptive style – which frequently merges visual representations of transcontinental experiences with the countercultural energies of Afrodiasporic music – challenges the Eurocentric biases underpinning Western media. At the same time, his works generate various contradictions and tensions because they are themselves products situated within an economic framework of neoliberal capitalism, at once offering alternative ways of being while, simultaneously, participating in and thereby sustaining the social structures that they otherwise seek to subvert and dismantle. Kahlil Joseph and the Audiovisual Atlantic (Bloomsbury, 2024) generates ground-breaking new dialogues between a range of audial and visual theories that are shaped by Paul Gilroy's conceptualisation of The Black Atlantic (1993). The book analyzes Joseph's work through intersections of emergent music video and new media concepts as well as film theories from African, American and European perspectives. Vitally, it argues that such an interdisciplinary and transcontinental approach to film, music and new media scholarship enriches the possibilities of their respective and, simultaneously, entwined branches of knowledge In the episode, we discuss Joe Jackson's pathway into studying Joseph's scholarship, his work's dialogue with Paul Gilroy (alongside a host of other vital scholars of the audiovisual and race) - and make the case for greater focus on the music video as a distinctive field of study. Follow this link for a sample of Joseph's work here    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The United States has no hate speech laws; hate speech is generally considered to be free speech under the First Amendment. In Hate Speech: The Legal and Cultural History of an American Dilemma (U California Press, 2026), acclaimed legal historian Samantha Barbas chronicles the country’s legal and cultural battles over the regulation of hate speech in the last hundred years. Charting the historical context for current debates, she ultimately argues that, however emotionally appealing they may seem, hate speech laws undermine civil rights and democracy. The American policy on hate speech evolved from influences such as the civil rights movement, which contended that the most effective way to combat hate speech wasn’t through proposed laws. Rather than imposing restrictions, the US has developed an array of mechanisms other than law, including counterspeech and public education, that have been relatively effective at dealing with hate speakers and hate groups. Though not perfect, our method of addressing hate is less dangerous than government censorship and less likely to be weaponized against the powerless. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Why we crave enjoyment from news, how our news use divides us, and what we can do to create better news and more informed citizens. TikTok. Short-form reels. Late-night TV monologues. Podcasts. The way news is delivered has changed dramatically and so has the way we consume it. Now, we no longer look to the news just to learn and be informed; we expect enjoyment as well. In Enjoyment Is Breaking News: How We Became Less Informed and More Divided (and How to Fix It) (MIT Press, 2026), Jennifer Hoewe (Purdue University) explains how and why this shift toward news enjoyment occurred and what we can do to address the information crisis we now face. Evidence shows that enjoyment-driven decisions are leaving us less informed—despite what we might expect—because they lead us to ignore other news that matters. This book explains why we don’t always select the best sources of news, how we respond to the news sources we do select, and how that information impacts our political knowledge and decisions. Hoewe also offers solutions for how to improve news creation and news use moving forward. Specifically, she shows how news consumers can escape their “self-righteous” consumption cycles; how news and social media companies can play a role in curbing our automatic amplification of enjoyable news; and how we can all do better when it comes to the information we seek and share. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Arts of the Border: Fugitive Bodies at Europe’s Edges (Fordham, 2025) investigates the consequences of unfolding catastrophes across the world and the displacement they continue to produce. Through recent narratives and media representations of the refugee “crisis” at Europe’s edges, it tells a new story about those on the move, the technologies unleashed on them at borders, the racialized and colonial histories that inform these technologies, and the artistry with which migrants and allies bear witness to displacement. The book reorients us toward the creativity and movement of migrants themselves– their “arts of the border”—as well as toward the political force of the arts that represent them, whether in literature, documentary film, or art installations. Sanyal proposes kino-aesthetics as a framework for capture and fugitivity at borders. From kino—to set in motion—and aesthetics— relating to sensory perception—kino-aesthetics conveys the force of bodies in motion and the image in its circulation. The book examines the simultaneity of capture and escape at thresholds of illegalization, from airport detention zones to Calais’s “jungle” and the Euro-African border at Ceuta and Melilla. What emerges throughout these case studies is a portrayal of border violence in its racial and colonial forms as well as an archive of refusal, fugitivity, and un-bordered imagining. Guest Debarati Sanyal is Professor of French, Director of the Center for Interdisciplinary Critical Inquiry, and currently holds the Zaffaroni Family Chair of Undergraduate Education. Affiliated with the Designated Emphasis in Critical Theory, the Berkeley Interdisciplinary Migration Initiative, the Center for Race and Gender, and the Institute of European Studies, her teaching and research interests span 19th -21st-century French and Francophone literature, memory studies, aesthetics and bio/necropolitics, critical human rights and refugee studies. She is a recipient of the UC Berkeley Distinguished Teaching Award (2012) and a Guggenheim Fellowship (2021-2022). She is currently co-PI on the Mellon-funded A Counter-Imaginary in Authoritarian Times (2024-2027). Besides Arts of the Border, Dr. Sanyal has authored Memory and Complicity: Migrations of Holocaust Remembrance (Fordham, 2015), translated into French as Mémoire et Complicité: Au Prisme de la Shoah (PUV, 2019); and The Violence of Modernity: Baudelaire, Irony and the Politics of Form (Johns Hopkins, 2006). She has guest-edited “Time and Politics in Contemporary Critique: Entanglements and Aftermaths” (Critical Times, 2018), ha also co-edited, with Éric Fassin, Demos Anxiety: Genealogies, Rhetorics, and Politics of Great Replacement (forthcoming in Patterns of Prejudice); with Damon Young and Mario Telò, Proximities: Reading with Judith Butler (Representations 2022), and, with Michael Rothberg and Max Silverman, Noeuds de mémoire: Multidirectional Memory in Postwar French and Francophone Culture (Yale French Studies 118-119). Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean. Their monograph Posthumanist Ecology in Global French Surrealism is forthcoming in 2027 from Northwestern University Press. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

At its core, China in African Media: Between Influence Operations and Decolonization (Bloomsbury, 2026) is a book about power, journalism, geopolitical influence, and knowledge production in China–Africa relations. It examines how the People’s Republic of China has moved beyond simply establishing Chinese media organizations such as Xinhua and CGTN in Africa toward a much more dispersed system of engagement. Conceptualizing these engagements collectively as a multimodal or mixed-media ecology of influence, Umejei highlights China’s ability to reach African audiences directly through Chinese media, indirectly through African news organizations, institutionally through partnerships, professionally through the journalists it trains, and infrastructurally through technologies implemented by Chinese firms. Underlying the book is a strong normative concern about the implications of this expansion of Chinese media engagement for Africa’s democracy, leadership, developmental aspirations, and decolonization. In this regard, Umejei addresses the question: Is the emerging South–South media relationship helping to decolonize African journalism by weakening Western dominance, or is China principally replacing Western influence with a new form of Chinese influence? The book draws on semi-structured interviews with journalists across fourteen African countries, content analysis, policy documents, and publicly available materials. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In Hollywood today, thousands of data specialists work for streaming video platforms, playing a role not just in distribution and marketing but also in decisions about content and production. In Data-Driven Hollywood: The New Data Professionals in the Age of Streaming (Princeton UP, 2026), Violaine Roussel examines the emergence of this new category of professionals at the heart of the Hollywood dream factory. Roussel shows how the rise of data and algorithm specialists has transformed organizations and rearranged power relationships within them. Drawing on extensive interviews and in situ observations, she describes the ways that technical “data work” carried out by professionals at streaming platforms including Netflix, Amazon Prime Video, and Disney+ has had a significant effect on creative decisions. Rather than fetishizing data and algorithmic models, Roussel explores the practices of the professionals who shape them, manipulate them, and give them power. She examines the relationships of these workers with traditional producers, describing legitimacy struggles and the eventual stabilization of new professional arrangements. Roussel’s account of the ways that data specialists deploy algorithmic models to reinvent their industry’s approach to content, artists, and the market—the first in-depth sociological study of the rise of this new profession—reveals the new forms of power and knowledge at play in today’s Hollywood. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.