This week on Movies vs. Capitalism, Frank is joined by labor historian and pod favorite Harvey Kaye to talk about Warren Beatty’s REDS. They dig into the film’s take on the Russian Revolution, American radicalism, and what Hollywood gets right—and wrong—about revolution.

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For next week’s movie, we’ll be watching the 2016 Coen Brothers movie Hail, Caeser!

Rivka and Frank are joined by Daniel from the new podcast ‘The Sickle and the Hammer: A Socialist History of the Soviet Union’ to talk about the 2001 Soviet-era drama Enemy at the Gates. If you’ve ever wondered what the Western capitalist perspective is on the siege of Stalingrad - this is the movie for you! We unpack all of the propaganda, historical inaccuracies, and flat out lies baked into the film. Because it turns out you’ll betray your entire belief system if the girl you like doesn’t like you back. We also talk about Daniel’s podcast, which is a comprehensive telling of the Russian revolution told from a socialist perspective.

• The Sickle and the Hammer: A Socialist History of the Soviet Union

For next week’s movie, we’ll be watching the 1981 drama REDS.

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Artwork by Rufus Paisley | Theme song by JustBen

Rivka and Frank are joined by journalist and Zeteo staff writer Prem Thakker to discuss Stephen Spielberg and Tom Cruise’s 2002 sci-fi dystopian crime thriller Minority Report. The three talk about the film’s critique of the modern day surveillance state, the philosophical concept of “pre-crime”, and whether the entire movie could have been avoided if John Anderton had just told his colleagues that some weird shit went down in the milk vat.

For next week’s movie, we’ll be watching 2001 film Enemy at the Gates.

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Artwork by Rufus Paisley | Theme song by JustBen

While we're on hiatus, we're unlocking this episode from behind the paywall! Thank you all for listening and your support :)

Rivka and Frank are joined by MVC all-star Harvey Kaye to discuss Michael Moore’s 2009 documentary Capitalism, A Love Story. They talk about the film’s radicalizing potential, its portrayal of the 2008 financial crisis, what Moore could have done better, and Obama.

MVC donates its ad space to progressive or leftist causes and organizations. If you’re interested in promoting your work, email us at moviesvscapitalism@gmail.com.

Artwork by Rufus Paisley | Theme song by JustBen

Rivka and Frank are joined by attorney and legal organizer Don to talk about the 1981 cult classic Mad Max 2: The Road Warrior. The three compare the political formations and ideologies inherent to both the communists of proto-Gastown and the violent raiders of Lord Humungus’ gang. They also unpack the nature of the film’s unreliable narrator, whether Max is even a good guy (a former cop?!), and if aesthetic expression is a fundamental component of post-apocalyptic survival.

MVC will be taking a break for May but will return with new episodes in June!

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Artwork by Rufus Paisley | Theme song by JustBen

In addition, here are Don's expanded notes on the film:

What is the base of the tribe outside? Scavenging, primary accumulation

What sort of superstructures does that produce? Militaristic, violent, extremely hierarchical

What is the base of the Papagallo tribe? Maintaining the pump

What superstructures does it produce? More communal, democratic, we need everyone, we will all help and allow everyone to help (assuming it’s not a myth)

We can see the tension between the destroyed economic base but the lagging superstructure. Most clearly exemplified in how the characters approach agreements. They call them “contracts”, but they’re clearly not going to a court to enforce them. We see a number of times that they actually know there isn’t anything to enforce, all parties talk about just backing out of agreements.

I think we see this in this country in our own society now. The economic base of this country has changed significantly since the mid-century compact. The broad-based middle class really doesn’t exist. The political structures we had that served and responded to it have lagged. There’s no need to maintain a broad-based middle class without the threat of an alternative system in the form of the Soviet Union. That threat meant that there had to be some forward momentum on wages, workers rights etc. We had to show progress on a lot of issues to be able to claim that the alternative system was worse. In the political sense that incentivised compromise. At least one element of the American political superstructure (the Republican party) has realized that there’s nothing enforcing that anymore, there's no external threat to the system that requires progress and compromise. What's not so clear is if the other has realized this (Dems).

This week, Rivka and Frank dive into two of the most talked-about shows of the season: The White Lotus and Severance. They explore how Severance brilliantly captures Marx’s concept of worker alienation, debate whether The White Lotus functions as true satire or simply a glossy drama about wealthy vacationers, and discuss the political implications each series leaves us with.

For next week, we’ll be watching the post-apocalyptic Mel Gibson epic MAD MAX 2: The Road Warrior.

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Artwork by Rufus Paisley | Theme song by JustBen

Rivka and Frank are joined by MVC editor John for a deep-dive into the sci-fi parody Galaxy Quest. They unpack the film’s clear affection for Star Trek, its sharp satire of fan culture and conventions, and why David Mamet once praised it as one of the best-structured screenplays in modern film. Speaking of space, Frank and Rivka give their take on girlboss billionaire’s modern day galaxy quest in today’s topical.

For next week we’ll be talking about TV, discussing the season finales of Severance and White Lotus.

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Artwork by Rufus Paisley | Theme song by JustBen

Rivka and Frank return with another duet to revisit a childhood staple: Jumanji, the Robin Williams-led adventure that shaped a generation’s imagination. But as they unpack the film, it becomes clear that it’s doing more than telling the story of a man trapped in a magical board game. Beneath the surface, Jumanji reflects deeper currents—tracing the shadows of American and European imperialism, colonial legacy, and the quiet manipulations of capitalist logic.

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For next week’s movie, we’ll be watching the 1999 sci-fi satire Galaxy Quest.