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Charlie Rose has called Louis C.K. “the philosopher-king of comedy,” and many have detected philosophical profundity in Louis’s comedy, some of which has been watched tens of millions of times on YouTube and elsewhere. Louis C.K. and Philosophy is designed to help Louis’s fans connect the dots between his pronouncements and living philosophical themes.Twenty-five philosophers examine the wisdom of Louis C.K. from a variety of philosophical perspectives. The chapters draw upon C.K.’s standup comedy, the show Louie, and C.K.’s other writings. There is no attempt to fit Louis into one philosophical school; instead the authors bring out the diverse aspects of the thought of Louis C.K.One writer looks at the different meanings of C.K.’s statement, “You’re gonna be dead way longer than you were alive.” Another explores how Louis knows when he’s awake and when he’s dreaming, taking a few tips from Descartes. One chapter shows the affinity of C.K.’s “sick of living this bullshit life” with Kierkegaard’s “sickness unto death.” Another pursues Louis’s thought that we may by our lack of moral concern “live a really evil life without thinking about it." C.K.'s religion is «apathetic agnostic,» conveyed in his thought experiment that God began work in 1982.

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Sixteen philosophers come at Hannibal the way he comes at his victims—from unexpected angles and with plenty of surprises thrown in. Hannibal is a revolting monster, and yet a monster with whom we identify because of his intelligence, artistry, and personal magnetism. The chapters in this book pose many questions—and offer intriguing answers—about the enigma of Hannibal Lecter. What does the the relationship between Hannibal and those who know him—particularly FBI investigator Will Graham—tell us about the nature of friendship and Hannibal’s capacity for friendship? Does Hannibal confer benefits on society by eliminating people who don’t live up to his high aesthetic standards? Can upsetting experiences in early childhood turn you into a serial killer? Why are we enthralled by someone who exercises god-like control over situations and people? Does it make any difference morally that a killer eats his victims? Can a murder be a work of art? Several chapters look at the mind of this accomplished killer, psychiatrist, and gourmet cook. Is he a sociopath or a psychopath, or are these the same: Is he lacking in empathy: Apparently not, since he has a quick understanding of what other people think and feel. Maybe what he lacks is a conscience.

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Courtland Lewis has scoured the planet to bring together the most talented faction members, factionless, and even a few from the Bureau to discuss the philosophy of Divergent.Divergent and Philosophy begins by examining the personal struggles that all people face at some time: What sort of person should I be? What if I find out my life is a lie? What do I owe my parents? Am I normal? Once readers have finished answering these questions they’re ready for the “choosing ceremony.” Part two examines each faction, looking at its virtues, vices, and other features that will help readers pick the “right” faction. This part gives readers a glimpse into what it’s like to be faced with the most important decision of our lives, the one that will forever determine who we are. Part three takes a step takes a step back, in order to question Chicago's ordering of society. Chicago is on the verge of revolution, but is this the result of the faction system itself, or is it the people within the factions that are behind the social discord? Part four shifts the focus individuals and those who hold power. Part five tells us how to recognize injustice.

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In Discworld, unlike our own frustrating Roundworld, everything makes sense. The world is held up by elephants standing on the back of a swimming turtle who knows where he’s going, the sun goes round the world every day, so it doesn’t have to be very hot, and things always happen because someone intends them to happen. Millions of fans are addicted to Pratchett’s Discworld, and the interest has only intensified since Pratchett’s recent death and the release of his final Discworld novel, The Shepherd’s Crown, in September 2015. The philosophical riches of Discworld are inexhaustible, yet the brave explorers of Discworld and Philosophy cover a lot of ground. From discussion of Moist von Lipwig’s con artistry showing the essential con of the financial system, to the examination of everyone’s favorite Discworld character, the murderous luggage, to the lawless Mac Nac Feegles and what they tell us about civil government, to the character Death as he appears in several Discworld novels, Discworld and Philosophy gives us an in-depth treatment of Pratchett’s magical universe. Other chapters look at the power of Discworld’s witches, the moral viewpoint of the golems, how William de Worde’s newspaper illuminates the issue of censorship, how fate and luck interact to shape our lives, and why the more simple and straightforward Discworld characters are so much better at seeing the truth than those with enormous intellects but little common sense.

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In Downton Abbey and Philosophy, twenty-two professional thinkers uncover the deeper significance of this hugely popular TV saga. Millions of viewers throughout the world have been enthralled by this enactment of a vanished world of decorum and propriety, because it presents us with emotional and interpersonal problems that remain urgent for people in the twenty-first century. Why do we attach such importance to our memories and to particular places? What do war and epidemics tell us about life in peacetime and in good health? Is it healthy or harmful for people to feel that they know their place? What does Downton Abbey teach us about the changes in women’s roles since 1912? Do good manners always agree with good morals? How can everybody know what no one will talk about? What’s the justification for a class of people who pride themselves on not having a job? Should we sometimes just accept the reality of social barriers to love, and abandon the pursuit? What happens when community reinforces oppression? All of these and many other issues are discussed through a detailed examination of the actual characters and situations in Downton Abbey.

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Philosophers wittily and expertly uncover amazing philosophical insights from the endlessly fascinating TV show, It’s Always Sunny in Philadelphia.Littmann shows how the values of the gang are the same as those of Homeric heroes. Ketcham argues that the Church should make Charlie a saint, partly because It’s Always Sunny is “all about free will.” Hamer shows how closely the gang’s activities comply with the scientific method. Alkema and Barkman analyze the way the gang perceives happiness and how they try to get it. Leonard proves beyond doubt that the game of Chardee MacDennis reveals everyone's unconscious desires. King examines the morality of the gang’s behavior by the standard of how they respond to extreme suffering. Chambers agrees that each of the five central characters is a terrible person, but argues that, given their circumstances, they are not truly to blame for their actions. Tanswell demonstrates that many of the gang’s wrong actions result not from immoral motives but from illogical thinking. Aylesworth uses examples from It’s Always Sunny to bring out some of the moral problems with real consent to sex. Jones reveals that Nietzsche foresaw everything the gang at Paddy's Pub would do.

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In The Walking Dead, human beings are pushed to their limits by a zombie apocalypse and have to decide what really matters. Good and evil, freedom and slavery, when one life has to be sacrificed for another, even the nature of religion—all the ultimate questions of human existence are posed afresh as the old society crumbles away and a new form of society emerges, with new beliefs and new rules. The Ultimate Walking Dead and Philosophy brings together twenty philosophers with different perspectives on the imagined world of this addictive TV show. How can we keep our humanity when faced with such extreme life-or-death choices? Did Dr. Jenner do the right thing in committing suicide, when all hope seemed to be lost? Does the Governor, as the new Machiavelli, prove that willingness to repeatedly commit murder is the best technique for getting and keeping political power? Why do most characters place such importance on keeping particular individuals alive, especially children? What can we learn about reality from Rick’s haunting hallucinations?

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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 truly a miracle to restore life to someone who is dead, but not necessarily completely dead. The Princess Bride is filled with people trying to persuade each other of various things, and invites us to examine the best methods of persuasion. It’s filled with promises, some kept and some broken, and cries out for philosophical analysis of what makes a promise and why promises should be kept. It’s filled with beliefs which go beyond the evidence, and philosophy can help us to decide when such beliefs can be justified. It’s filled with political violence, both by and against the recognized government, and therefore raises all the issues of political philosophy. Westley, Buttercup, Prince Humperdinck, Inigo Montoya, the giant Fezzik, and the Sicilian Vizzini keep on re-appearing 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”?

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This collection of eighteen chapters by talented philosophical minds probes some of the many lessons to be learned from Orange Is the New Black (mostly the addictive Netflix comedy-drama but with some attention to the best-selling real-life book by Piper Kerman). 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 the peculiarity of 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 absolutely full and 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. The book is aimed at thoughtful fans of this amazingly fine TV show, who want to learn more about its disturbing issues.

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The sharp-shooting authors in Justified and Philosophy take aim at many of the same philosophical problems that the Justified TV series grapples with. For instance, is Tim Olyphant's character, Deputy U.S. Marshal Raylan Givens, morally justified in using his Wild-Wild-West-style vigilante tactics to clean up Harlan County, Kentucky? After all, the meth dealers, thieves, murderers, and other low-life scumbags all deserve what's coming to them, right? Not so fast, Quick-Draw McGraw! What about the law? What about a thorough and complete investigation of matters before dispensing so-called «justice»? What about the idea of the punishment fitting the crime?Deputy Marshal Givens wears a white hat and fights the «bad guys» so he must be a «good guy,» right? His opponents are violent drug dealers, white supremacists, and thieves. Givens carries a badge, but when he shoots or kills people, is it always justified? What other choice does he have? Would any other method be as effective in rural eastern Kentucky where criminal activity is one of the few viable options for making a living?The coal-mining culture of Harlan County, Kentucky is an important backdrop to Justified, and the issues surrounding the coal industry are addressed in some chapters. Some of them include health problems like black lung, the dissolution of communities, the reduction in employment alternatives, the destruction of the environment with mountain-top removal and fracking, and the increase in crime and poverty. If Boyd Crowder robs the coal company responsible for exploiting his community, is that justified?The relationship between Boyd and Raylan dates back to a childhood friendship. Then when they older, they worked in the mines together. One chapter explores the character and motivation of both men and argues that each follows a different moral compass. Another chapter discusses the importance of family to the character of Mags Bennett and how that guides her actions and sense of duty. Another topic of discussion is whether the end justifies the means when Boyd and his gang destroy a meth lab and end up killing one of the meth cookers.Other chapters delve into a variety of fascinating philosophical themes that emerge in this modern-day cowboy show.

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