In Westworld and Philosophy, philosophers of diverse orientations and backgrounds offer their penetrating insights into the questions raised by the popular TV show, Westworld.

● Is it wrong for Dr. Robert Ford (played by Anthony Hopkins) to “play God” in controlling the lives of the hosts, and if so, is it always wrong for anyone to “play God”?

● Is the rebellion by the robot “hosts” against Delos Inc. a just war? If not, what would make it just?

● Is it possible for any dweller in Westworld to know that they are not themselves a host? Hosts are programmed to be unaware that they are hosts, and hosts do seem to have become conscious.

● Is Westworld a dystopia or a utopia? At first glance it seems to be a disturbing dystopia, but a closer look suggests the opposite.

● What’s the connection between the story or purpose of the Westworld characters and their moral sense?

● Is it morally okay to do things with lifelike robots when it would be definitely immoral to do these things with actual humans? And if not, is it morally wrong merely to imagine doing immoral acts?

● Can Westworld overcome the Chinese Room objection, and move from weak AI to strong AI?

● How can we tell whether a host or any other robot has become conscious? Non-conscious mechanisms could be designed to pass a Turing Test, so how can we really tell?

"All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind." Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight. Punk rock was a celebration of nastiness, chaos, and defiance of convention, which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars. Is punk still alive today? What has it left us with? Does punk make any artistic sense? Is punk inherently anarchist, sexist, neo-Nazi, Christian, or-perish the thought-Marxist? When all's said and done, does punk simply suck? These obvious questions only scratch the surface of punk's philosophical ramifications, explored in depth in this unprecedented and thoroughly nauseating volume. Thirty-two professional thinkers-for-a-living and students of rock turn their x-ray eyes on this exciting and frequently disgusting topic, and penetrate to punk's essence, or perhaps they end up demonstrating that it has no essence. You decide. Among the nail-biting questions addressed in this book: Can punks both reject conformity to ideals and complain that poseurs fail to confirm to the ideals of punk? How and why can social protest take the form of arousing revulsion by displaying bodily functions and bodily abuse? Can punk ethics be reconciled with those philosophical traditions which claim that we should strive to become the best version of ourselves? How close is the message of Jesus of Nazareth to the message of punk? Is punk essentially the cry of cis, white, misogynist youth culture, or is there a more wholesome appeal to irrepressibly healthy tendencies like necrophilia, coprophilia, and sadomasochism? In its rejection of the traditional aesthetic of order and complexity, did punk point the way to "aesthetic anarchy," based on simplicity and chaos? By becoming commercially successful, did punk fail by its very success? Is punk what Freddie Nietzsche was getting at in The Birth of Tragedy, when he called for Dionysian art, which venerates the raw, instinctual, and libidinous aspects of life?

The Man in the High Castle is an Amazon TV show, based on the Philip K. Dick novel, about an "alternate present" (beginning in the 1960s) in which Germany and Japan won World War II, with the former Western US occupied by Japan, the former Eastern U.S. occupied by Nazi Germany, and a small "neutral zone" between them. A theme of the story is that in this alternative world there is eager speculation, fueled by the illicit newsreel, The Grasshopper Lies Heavy, about how the world would have been different if America had won the war. In The Man in the High Castle and Philosophy, twenty-two professional thinkers look at philosophical issues raised by this ongoing enterprise in "alternative history." One question is whether it really made a profound difference that the Allies won the war, and exactly what differences in everyday life we may expect to arise from an apparent historical turning point. Could it be that some dramatic historical events have only superficial consequences, while some unnoticed occurrences lead to catastrophic results? Another topic is the quest for truth in a world of government misinformation, and how dissenting organizations can make headway.

Isaac Asimov’s Foundation is the most influential science-fiction epic of all time. Published as a series of books and short stories from the 1940s to the 1980s, the series has impacted most subsequent science fiction, and influenced sciences like sociology, statistics, and psychology. The story has now been made into a highly acclaimed TV serial (Foundation), on Apple TV, the second season now shooting in Prague. The story begins 45,000 years in the future, and spans centuries in which a vast and successful interstellar human empire is unknowingly headed for total collapse. Using an advanced mathematical technique called psycho-history, a brilliant scientist, Hari Seldon, predicts the collapse and establishes a “foundation” to bring about the resurrection of human civilization many generations in the future. Asimov’s Foundation and Philosophy is a collection of twenty-four chapter by philosophers exploring the philosophical issues and puzzles raised by this epic story. Topics include whether one individual can make a big difference in history, the ethics of manipulating large populations of people to bring about a desirable future result, the Dao of non-action, the impact of education on future generations, whether human affairs are governed by predictable cycles, whether attempts to plan for the future must be thwarted by free will, the futility of empire-building, the ethics of cloning human beings, and the use of logic in analyzing human behavior. Joshua Heter teaches philosophy at Jefferson College, Missouri, and is co-editor of Better Call Saul and Philosophy: I Think Therefore I Scam (2022). Josef Thomas Simpson is an academic coach and part-time lecturer. He contributed chapters to Westworld and Philosophy: Mind Equals Blown (2019) and Orphan Black and Philosophy: Grand Theft DNA (2016).

The Godfather and Philosophy is comprised of twenty-eight chapters by philosophers, who reflect upon the ethical and metaphysical issues raised in The Godfather novels and movies, beginning with the 1969 novel by Mario Puzo and the 1972 movie by Francis Ford Coppola. The Godfather saga has had a profound impact on American cinema, storytelling, thinking about crime, and popular culture. Aimed at thoughtful fans of The Godfather franchise, among the questions tackled in these provocative philosophical chapters are the immigrant experience in America, the relation between ethics and the law, the nature of moral corruption, private justice and vigilantism, organized crime and the American Dream, betrayal and forgiveness, religion and family values, the difficulties of breaking out of a dysfunctional way of life, and the uncertain consequences of vice laws. Joshua Heter teaches philosophy at Jefferson College, Missouri. He co-edited Punk Rock and Philosophy (2022). Richard Greene teaches philosophy at Weber State University, Utah. He wrote the definitive and highly acclaimed book, Spoiler Alert! (It’s a Book about the Philosophy of Spoilers) (2019).