Continuing on the "Spirit" section of The Phenomenology of Spirit, giving a sort of social metaphysics, wherein the ethical life of a society is analyzed into two complementary types of law, human (explicit laws but also customs) and what Hegel calls "divine" (a subconscious ethical sense represented by the home and women).

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What is it worth raising an objection over, and how hard do you fight? We hear (and act out) Mary's roommate-searching trauma, plus Mary for President, curiosity about bellicose Twitter, respect vs. reverence, rationality and religion, dealing with QAnon believers, family Thanksgiving, giving someone else a name, vegetarianism, and the angel of philosophy.

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In light of the now-completed black history month and the upcoming Oscars, we consider the "Oscars So White" issue that was a hot topic about a decade ago.

We all tried to watch some of the Oscar-nominated films by black creators, like Twelve Years a Slave, Moonlight, Judas and the Black Messiah, Boyz in Da Hood, et al. What makes for a critically lauded drama in this genre? Does a film have to have black creators (not just stars) to be an authentically black film? Are such films destined for a niche audience? Mark, Lawrence, Sarahlyn and Al discuss.

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