The new TV series, His Dark Materials, is based on the series of novels by Philip Pullman, depicting a young girl's adventures in an imaginary world with similarities and dissimilarities to our own. The story tells of world domination by a religious body, the Magisterium, with malevolent intentions, serving a really existing God who is evil and who can be killed. The story, in all its manifestations, as novels, movies, and television shows, has received fierce criticism from religious organizations, especially because its criticisms of religion are aimed primarily at children. While the story is a thrilling adventure yarn, enjoyed by millions of children and grownups alike, it raises many philosophical issues. In the world of His Dark Materials (or one of its many worlds) humans have an animal companion to which they are emotionally linked and which is like an external 'soul'. This provokes questions about the human personality and the way we think of humans as having bodies, minds, and maybe also souls. Human psychology can be analyzed by psychoanalysis and other theories, some of which are explored in His Dark Materials and Philosophy. Questions of social and political philosophy are also prompted by the story of His Dark Materials. The malignant Magisterium has similarities with the various churches and other religious organizations which have wielded tremendous power both politically and culturally, throughout human history. The relation of the Magisterium to the mysterious "dust" which pervades the universe helps us to understand the relationship of science, religion, and metaphysics. Ever since Friedrich Nietzsche proclaimed that "God is dead," the question of what Nietzsche meant and what are the consequences of the death of God has agitated many thinkers, and so the story in which God is actually killed enables a closer look at the death of God. A popular theme in philosophy and in modern fantasy stories, is that of possible worlds, including how possible worlds relate to parallel worlds. His Dark Materials has many alternative worlds (one of which happens to be our own) and is filled with rich materials for discussion of these questions. His Dark Materials is a good example of a good story, and therefore provides materials for the branch of philosophy called aesthetics, especially the aesthetics of storytelling. We can learn what makes a good story from thinking about specific stories such as His Dark Materials. One chapter looks at the existentialist implications of the story, another at the feminist implications, and another at the Marxist interpretation. Other chapters focus on specific aspects of metaphysics and epistemology, as well as controversial topics in ethics and philosophy of religion.

From Machiavellian city officials to big-time mobsters, corrupt beat cops, and overzealous G-men, Boardwalk Empire is replete with philosophically compelling characters who find themselves in philosophically interesting situations. This book is directed at thoughtful fans of the show. Here, readers discover parallels between the events in Boardwalk Empire and contemporary political events. Twenty philosophers address issues in political philosophy, ethics, aesthetics, feminism, and metaphysics. Is Nucky Thomson a Machiavellian prince or a Nietzschean superman? Is Jimmy's resentment towards Nucky justified, given that Jimmy would never have come into existence had his parents not met? What can be said about the ethics of lying in the seedy world of bootlegging? Agent Van Alden's unique religious attitudes bring a warped sense of morality to the Boardwalk universe. One chapter brings to light the moral character of Van Alden's God. Other chapters explores the roles that storytelling, deception, and gender play in the show.

This collection of 18 chapters by talented philosophical minds probes some of the many lessons to be learned from Orange Is the New Black. The show and the book that inspired it both dramatically highlight the troubling, stressful situation of millions of incarcerated Americans. How do the show's shower scenes shed light on the classical mind-body problem? How can we make our lives meaningful when our options are curtailed by authority? What does it mean to manipulate someone, and why is it bad? What can we learn about human beliefs from Pennsatucky's notion of the gay agenda? Is Litchfield Prison a preparation for life outside -- or just a scale model of life outside? What could the governors of Litchfield learn from Jeremy Bentham and his panopticon? How is it that even in prison we find ourselves condemned to be free? Why is one of the worst things about prison being forced to see who and what we really are? It so happens that life in prison is overfull of philosophical implications. Orange Is the New Black and Philosophy stays close to the characters and scenes of the TV show, applying insights from ethics, existentialism, metaphysics, epistemology, and political philosophy.

Mr. Robot has been hailed, not only as one of the most haunting and unnerving dramas ever to appear on television, but also as the first accurate popular presentation of how computer hacking and cyberterrorism actually work. Mr. Robot and Philosophy is aimed at thoughtful fans of this addictive show who will welcome the opportunity to explore Elliot Alderson's world from a philosophical perspective. The developing story of Mr. Robot constantly raises ethical and metaphysical issues. What happens to our personal identity when it's extended into cyberspace and an array of electronic devices? Are we in control of our online lives or are we being controlled? What does our right to privacy mean in a world where millions of people can observe what we're doing and saying? Is a virtual currency true money and could it replace traditional money? Can there be healthy forms of drug addiction? Can some types of so-called mental illness be useful and beneficial? Does it make any sense to unleash destruction upon the existing corporate economic structures, and can we expect something better to emerge from the ruins of a digital meltdown?

Microchips, government-replaced bird drones, QAnon and vaccine tracers: these are just a few of the most common conspiracies we have heard over and over again throughout most of 2020-2021's news cycles. There are common categories of conspiracy theories, variants of which pop up over and over again, and new and outrageous theories that seemingly appear overnight. While most of them are easily debunked, conspiracy theories and their root causes can be used to closely track people's most significant philosophical concerns at a point in time. In this up-to-date study of conspiracy theories, the authors look at the history of conspiracy theories, discuss the history and hallmarks of such theories, and examine what counts as a conspiracy theory--and what doesn't.

Conspiracy theories have become a major element in modern opinion formation. From the theory that the killing of President Kennedy was masterminded by a powerful conspiracy to the theory that 9/11 was an inside job, from the story that Barack Obama wasn't born in America to the story that Donald Trump was a Russian asset, conspiracy theories have become a major element in opinion formation and an ever-present influence, sometimes open, sometimes hidden, on the daily headline news. In Conspiracy Theories, philosophers of diverse backgrounds and persuasions focus their lenses on the phenomenon of the conspiracy theory, its psychological causes, its typical shape, and its political consequences. Among the questions addressed: What's the formula for designing a contagious conspiracy theory? Where does conspiracy theorizing end and investigative reporting begin? What can we learn about conspiracy theories from the three movie treatments of the Kennedy assassination (The Parallax View, JFK, and Interview with the Assassin)? Does political powerlessness generate conspiracy theories? Is conspiracy theorizing essentially an instinct that lies behind all belief in religion and all striving for a meaningful life? Can we find conspiracy theories in all political movements for centuries past? What are the most common types of fallacious reasoning that tend to support conspiracy theories? Is there a psychological disorder at the root of conspiracy theories? Why is the number of flat-earthers growing?

2017 saw the triumphant return of the weird and haunting TV show Twin Peaks, with most of the original cast, after a gap of twenty-five years. Twin Peaks and Philosophy finally answers that puzzling question: What is Twin Peaks really about? Twin Peaks is about evil in various forms, and poses the question: What's the worst kind of evil? Can the everyday evil of humans in a small mountain town ever be as evil as the evil of alien supernatural beings? Or is the evil of non-humans actually less threatening because it's so strange and unaccountable? And does the influence of uncanny forces somehow excuse the crimes committed by regular folks? Some Twin Peaks characters try to confine evil by sticking to their own moral code, as in the cast of Albert Rosenfeld, who refuses to disguise his feelings and upsets everyone by his forthright honesty. Twin Peaks is about responsibility, both legal and moral. Who is really responsible for the death of Laura Palmer and other murder victims? Although Leland has been revealed as Laura's actual killer, the show suggests that no one in town was without some responsibility. And was Leland even guilty at all, if he was not in control of his own mind or body? Twin Peaks is about the quest for self-knowledge and the dangers of that quest, as Agent Cooper keeps learning something new about himself, as well as about the troubled townspeople. The Buddhist Cooper has to confront his own shadow side, culminating in the rite of passage at the Black Lodge, at the end of Season Two. Twin Peaks is about madness, sanity, the borderline between them, and the necessity of some madness to make sense of sanity. The outwardly super-normal if somewhat eccentric Agent Dale Cooper is the inspired, deranged, and dedicated shaman who seeks the truth by coming to terms with the reality of unreason, partly through his dreams and partly through his existential encounters with giants, logs, outer space, and other unexpected sources. Cooper challenges official law enforcement's over-reliance on science. Twin Peaks is about the imagination run wild, moving from metaphysics to pataphysics-the discipline invented by Alfred Jarry, which probes the assumption that anything can happen and discovers the laws governing events which constitute exceptions to all laws.

In The Handmaid’s Tale and Philosophy, philosophers give their insights into the blockbuster best-selling novel and record-breaking TV series, The Handmaid’s Tale. The story involves a future breakaway state in New England, beset by environmental disaster and a plummeting birth rate, in which the few remaining fertile women are conscripted to have sex and bear children to the most powerful men, all justified and rationalized by religious fundamentalism.

Among the questions raised by this riveting and harrowing story:

● The Handmaid’s Tale displays the connection between sex and power. What light does this story shed on sex and power in our own society?

● The divinity of the feminine is associated with the female capacity to give birth. Is this association inherently exploitative?

● In the story, the revolution rapidly rebranded people by changing their names and placing them into functional groups with specific titles. How important is change in language to the suppression of individual freedom?

● The Handmaid’s Tale sees everything through the eyes of one character. How is it possible to construct a self and an identity at odds with the definition which the culture attempts to impose?

● In oppressive societies, even the most oppressed do show some freedom of choice. What is the limit of autonomy in a repressive society ruled by a fanatical ideology?

● Our present ethics of sex relies heavily on the notion of consent, but in the world of The Handmaid’s Tale there is little scope for consent. How is the power of consent constricted by the broader social conditions?

● The feminist idea of Care Ethics can be used to critique various gender relationships. How does Care Ethics evaluate our own society and the society depicted in The Handmaid’s Tale?

● The society portrayed in the story is marked by fierce religiosity, yet the Christian God presumably disapproves of its brutal exploitation and oppression. What is the relation between a loving Deity and the literal interpretation of scriptural passages?

● Among many dystopian stories, what makes The Handmaid’s Tale particularly memorable, and what purpose is served by the contemplation of imaginary dystopias?

● Suicide is common in The Handmaid’s Tale, and contemplating the possibility of suicide is even more common. Can life be worth living if the political and religious structure is thoroughly malign?

● Beneath the theocratic preaching, there is the practical suggestion that everything is being arranged for the good of society and therefore of everyone. Who gets to decide and enforce what is in society’s best interests?

In Peanuts and Philosophy, twenty philosophers, from a diverse range of perspectives, look at different aspects of the Peanuts canon. How can the thoughts of children, who have yet to become grown-up, help us to become more grown up ourselves? Do we get good results from believing in something like the Great Pumpkin, even though we're disappointed every time? What can Linus's reactions to the leukemia of his friend Janice tell us about the stages of grief? Why don't we settle what's right and what's wrong by the simple method of asking Lucy? Is true happiness attainable without a warm puppy? Do some people's kites have a natural affinity for trees? Is Sally an anarchist, a nihilist, or just a contrarian? Does Linus's reliance on his blanket help him or hurt him? Is Charlie Brown's philosophy of life pathetic or inspirational? Other topics include: how the way children think carries general lessons about transcending our limitations; the Utopian quest as illustrated by Charlie's devotion to the Little Red-Haired Girl; Snoopy's Red Baron and history as selective memory; the Head Beagle as Big Brother. And, as we would expect, Lucy's repeated cruel removal of Charlie's football has several philosophical applications.

In Orphan Black, several apparently unconnected women discover that they are exact physical doubles -- they're illegally produced clones, and someone is having them killed. Law enforcement is powerless to help. The clones are forced to form their own Clone Club to defend themselves. Orphan Black raises philosophical issues, as well as ethical and policy questions. What makes a person unique? Should we have a say in whether we're cloned? Is it immoral to generate clones with built-in defects? What does the behavior of the Clone Club tell us about the nature-nurture debate? Is it relevant that most are heterosexual, one is a lesbian, and one is a transgendered male? Orphan Black shows us problems of biotechnology that will soon be everyday issues. What kind of a future faces us when human clones are commonplace? Will groups of clones have a tight bond of solidarity, making them a threat to democracy? If the world is going to be taken over by an evil conspiracy, would a scientific cult like Neolution or a religious cult like the Prolethians be better? Should biotech corporations be able copyright human DNA? What rules of morality apply when you can't trust the police?

The Princess Bride is the 1987 satirical adventure movie that had to wait for the Internet and DVDs to become the most quoted of all cult classics. The Princess Bride and Philosophy is for all those who have wondered about the true meaning of "Inconceivable!," why the name "Roberts" uniquely inspires fear, and whether it's a miracle to restore life to someone who is dead, but not completely dead. The Princess Bride is filled with beliefs that go beyond the evidence, and philosophy can help us to decide when such beliefs can be justified. Westley, Buttercup, Prince Humperdinck, Inigo Montoya, the giant Fezzik, and the Sicilian Vizzini keep on reappearing in these pages as examples of philosophical ideas. Is it right for Montoya to kill the six-fingered man, even though there is no money in the revenge business? What's the best way to deceive someone who knows you're trying to deceive him? Are good manners a kind of moral virtue? Could the actions of the masked man in black truly be inconceivable even though real? What does ethics have to say about Miracle Max's pricing policy? How many shades of meaning can be conveyed by "As You Wish"?

The drama-comedy Girls -- often unfairly written off as "Sex and the City" for the millennial generation -- has made TV history and provoked controversy for its pitilessly accurate portrayal of four oddly sympathetic twentysomething female characters, notable for their self-absorption, empathy deficits, and ineptitude with relationships. Among other breakthroughs, it is the first show to depict the sex act among the alienated young as nearly always awkward and unfulfilling. In "Girls and Philosophy," a team of diverse, sensitive, empathic philosophers approach the world of Girls from a variety of angles and philosophical points of view. The writers attack many fascinating issues arising from "Girls," including the meaning of authenticity in the 21st century, coming of age in a society with no clear guidelines, "Girls" as the only TV show the pop-culture-hating professor Theodor Adorno might have admired, feminist appraisals of these not-very-feminist characters, how each deals with the anxiety that comes from inescapable freedom, whether we need to amend the traditional list of seven deadly sins in the context of present-day New York, and, of course, why we once again find it natural to think of women in their early- to mid-twenties as "girls."

What explains the huge popular following for Dexter, currently the most-watched show on cable, which sympathetically depicts a serial killer driven by a cruel compulsion to brutally slay one victim after another? Although Dexter Morgan kills only killers, he is not a vigilante animated by a sense of justice but a charming psychopath animated by a lust to kill, ritualistically and bloodily. However his gory appetite is controlled by "Harry's Code," which limits his victims to those who have gotten away with murder, and his job as a blood spatter expert for the Miami police department gives him the inside track on just who those legitimate targets may be. In Dexter and Philosophy, an elite team of philosophers don their rubber gloves and put Dexter's deeds under the microscope. Since Dexter is driven to ritual murder by his "Dark Passenger," can he be blamed for killing, especially as he only murders other murderers? Does Dexter fit the profile of the familiar fictional type of the superhero? What part does luck play in making Dexter who he is? How and why are horror and disgust turned into aesthetic pleasure for the TV viewer? How essential is Dexter's emotional coldness to his lust for slicing people up? Are Dexter's lies and deceptions any worse than the lies and deceptions of the non-criminals around him? Why does Dexter long to be a normal human being and why can't he accomplish this apparently simple goal?

In American Horror Story and Philosophy, philosophers with varying backgrounds and interests explore different aspects of this popular "erotic thriller" TV show, with its enthusiastic cult following and strong critical approval. The result is a collection of intriguing and provocative thoughts on deeper questions prompted by the creepy side of the human imagination. As an "anthology show," American Horror Story has a unique structure in the horror genre because it explores distinct subgenres of horror in each season. As a result, each season raises its own set of philosophical issues. The show's first season, Murder House, is a traditional haunted house story. Philosophical topics expounded here include: the moral issues pertaining to featuring a mass murderer as one of the season's main protagonists; the problem of other minds-when I see an old hag, how can I know that you don't see a sexy maid? And whether it is rationally justified to fear the Piggy Man. Season Two, Asylum, takes place inside a mid-twentieth-century mental hospital. Among other classic horror subgenres, this season includes story lines featuring demonic possession and space aliens. Chapters inspired by this season include such topics as: the ethics of investigative reporting and whistleblowing; personal identity and demonic possession; philosophical problems arising from eugenics; and the ethics and efficacy of torture. Season Three, Coven, focuses on witchcraft in the contemporary world. Chapters motivated by this season include: sisterhood and feminism as starkly demonstrated in a coven; the metaphysics of traditional voodoo zombies (in contrast to the currently fashionable "infected" zombies); the uses of violent revenge; and the metaphysics of reanimation. Season Four, Freak Show, takes place in a circus. Philosophical writers look at life under the Big Top as an example of "life imitating art"; several puzzles about personal identity and identity politics (crystallized in the two-headed girl, the bearded lady, and the lobster boy); the ethical question of honor and virtue among thieves; as well as several topics in social and political philosophy. Season Five, Hotel, is, among other disturbing material, about vampires. Chapters inspired by this season include: the ethics of creating vampire progeny; LGBT-related philosophical issues; and existentialism as it applies to serial killers, Season Six, Roanoke, often considered the most creative of the seasons so far, partly because of its employment of the style of documentaries with dramatic re-enactments, and its mimicry of The Blair Witch Project and Paranormal Activity. Among the philosophical themes explored here are what happens to moral obligations under the Blood Moon; the proper role of truth in storytelling; and the defensibility of cultural imperialism.

Consumers and policy makers have unprecedented choices to make in the years to come about how and what we eat. If we continue down our current path of food production, we risk ever-increasing levels of animal exploitation, environmental destruction, biodiversity loss, and challenges to human health. In vitro meat production, or the process of growing meat in a lab, has the potential to reduce the severity of these problems. This proposal would change our food systems dramatically. Edibility and In Vitro Meat: Ethical Considerations explores the ethical questions that it's important to ask every stage of this process. Rachel Robison-Greene considers arguments for and against the production of in vitro meat, as well as challenges for implementation. She argues that in vitro meat should be implemented and that we should re-think how we use the term "edible."