Every day, Victoria Skillane wakes up bewildered. She has no idea where she is, but nevertheless has to run for her life from masked assailants while zombielike onlookers refuse to intervene. We later learn that she's the centerpiece of ‘White Bear Justice Park.’ The question is, what about this could be called just? In this chapter, we look to different theories of punishment in order to discern whether or not Victoria's punishment is justified. Does she deserve it? Does her sentence (...) deter people? Beyond these questions, we confront the most unsettling question raised by this episode of Black Mirror: why do people enjoy watching her suffer so much? (shrink)

Bandersnatch is a unique piece of television. Like the eponymous choose your own adventure book at the center of its winding narrative, the episode lets the viewer actively make choices that shape the direction of the story. In this same spirit, we present this chapter in an equally novel way: as a collection of miniature essays on a dozen or so philosophical topics, loosely bound together. Just as in the episode, the reader's choices will determine the philosophical path she takes (...) through the chapter. The authors engage primarily with questions about freedom: Do we have free will? Is there any relationship between free will and moral responsibility? Can artistic expression provide us with socio‐political freedom? How does technology restrict freedom? In addition, we explore existential concerns about choice, consider the possibility of time travel and multiple universes, and ethically take viewers to task for decisions they made while watching the episode. (shrink)

Don’t Look Up is a 2021 Netflix original film about two astronomers who discover a 9-kilometer “planet killer” comet on a collision course with Earth. The way humanity responds to this threat – which is less than ideal, given that the movie ends with humanity’s destruction – is supposed to be an allegory for how humanity is dealing with the real-world threat of climate change. Consequently, we argue, the movie is an argument that presents the viewer with a moral imperative: (...) Do all that you can to prevent climate change. But does the argument work? To answer this question, we look at criticism of the movie, decipher its messages, examine the aptness of its analogy, and use the philosophy of Plato, Kant, and Peter Singer to explain exactly what kind of argument the film is. In the end, we conclude that, while most (although not all) criticisms of the film fall flat – it doesn’t really matter. Given that the moral imperative presented by the movie is undeniable, the only appropriate response to the film is an unrelenting effort to fulfill our duty to stop climate change. (shrink)

Most people probably take it for granted that “human beings” and what philosophers and lawyers call “persons” are one and the same thing. The picture of a person get from Locke is of an intelligent, rational, self‐reflective, and emotional being. Anything that can have all of these features must count as a Lockean person. The human characters of the Alien franchise do seem to have all of these characteristics. This chapter explains that there are a couple of ways to determine (...) whether or not androids in the Alien series—and especially David from Prometheus—can be persons. On the Cartesian view, David is not a person because David does not have a soul. Locke challenges this idea with a picture of a person that does not tie the important features of persons to some particular substance, like a soul. (shrink)