It’s an unforgettable hip-hop relic, a tune that gets you into a groove right when the six opening words hit. Wesley has heard “This Is How We Do It” by Montell Jordan countless times since he was a teenager, but it wasn’t until a recent listen at the gym that he had an epiphany: It’s a country song. It fits into a long tradition of country music that expresses love and respect for an artist’s hometown.Wesley explores other songs that have personally changed in meaning for him over the years (like “Losing My Religion” by R.E.M.), and he considers music that has changed in tone for our collective culture — such as the catalog of Britney Spears.

It’s an unforgettable hip-hop relic, a tune that gets you into a groove right when the six opening words hit. Wesley has heard “This Is How We Do It” by Montell Jordan countless times since he was a teenager, but it wasn’t until a recent listen at the gym that he had an epiphany: It’s a country song. It fits into a long tradition of country music that expresses love and respect for an artist’s hometown.Wesley explores other songs that have personally changed in meaning for him over the years (like “Losing My Religion” by R.E.M.), and he considers music that has changed in tone for our collective culture — such as the catalog of Britney Spears.

Still Processing

‘This Is How We Do It’

I think Wesley Morris is absolutely killing it this season. His energy! His intellect, his fresh take on things usually taken for granted. I love this season of still processing.  So good!!

Wesley wants to get to the bottom of Keanu Reeves — and to understand “why we get so much out of a movie star who appears to give us so little.” He’s joined by Alex Pappademas, the author of “Keanu Reeves: Most Triumphant: The Movies and Meaning of an Irrepressible Icon,” to solve this mystery. They discuss Keanu’s three-decade acting career, how he became the internet’s adorably tragic boyfriend and why we are seeing ourselves when we look at the actor.

Wesley wants to get to the bottom of Keanu Reeves — and to understand “why we get so much out of a movie star who appears to give us so little.” He’s joined by Alex Pappademas, the author of “Keanu Reeves: Most Triumphant: The Movies and Meaning of an Irrepressible Icon,” to solve this mystery. They discuss Keanu’s three-decade acting career, how he became the internet’s adorably tragic boyfriend and why we are seeing ourselves when we look at the actor.

Keanu

I miss Jenna Wortham terribly but this episode really works with Wes and a Keanu Reeves biographer talking about the effect the actor had on him as a young a gay man in the eighties and nineties.

In the 20th century, method acting was everywhere. Actors went to extreme lengths to inhabit the complicated psyche of a character, sometimes making audiences deeply uncomfortable. Think Robert De Niro in “Raging Bull” or Marlon Brando in “Apocalypse Now.” But in 2022, in our heyday of superhero blockbusters and bingeable story lines, the Method seems to be fading away. Wesley invites Isaac Butler — critic, historian and author of “The Method: How the 20th Century Learned to Act” — to dissect the Method. They discuss where it came from, its most legendary practitioners, and whether Hollywood has a place for it today.

In the 20th century, method acting was everywhere. Actors went to extreme lengths to inhabit the complicated psyche of a character, sometimes making audiences deeply uncomfortable. Think Robert De Niro in “Raging Bull” or Marlon Brando in “Apocalypse Now.” But in 2022, in our heyday of superhero blockbusters and bingeable story lines, the Method seems to be fading away. Wesley invites Isaac Butler — critic, historian and author of “The Method: How the 20th Century Learned to Act” — to dissect the Method. They discuss where it came from, its most legendary practitioners, and whether Hollywood has a place for it today.

Where'd All the Method Acting Go?

This might just be one of my new favorite shows - the hosts are absolutely brilliant. 

Really enjoyed this discussion on method acting and whether or not it has a place in modern film/TV. 

Disney owns a piece of every living person’s childhood. Now it owns Marvel Studios, too. Jenna and Wesley look at depictions of racist tropes and stereotypes in Disney’s ever-expanding catalog. The company has made recent attempts to atone for its past. But can it move forward without repeating the same mistakes?You can find more info about today’s episode here. And in our April 29 episode, we’ll be discussing the book “Minor Feelings: An Asian American Reckoning” by Cathy Park Hong. Send us your questions and thoughts about the book at stillprocessing@nytimes.com.

Disney owns a piece of every living person’s childhood. Now it owns Marvel Studios, too. Jenna and Wesley look at depictions of racist tropes and stereotypes in Disney’s ever-expanding catalog. The company has made recent attempts to atone for its past. But can it move forward without repeating the same mistakes?You can find more info about today’s episode <a href="nytimes.com/2021/04/08/podcasts/still-processing-disney-marvel-racist-stereotypes.html">here</a>. And in our April 29 episode, we’ll be discussing the book “Minor Feelings: An Asian American Reckoning” by Cathy Park Hong. Send us your questions and thoughts about the book at stillprocessing@nytimes.com.

40 Acres and a Movie

Wesley and Jenna discuss the complicated legacy of Disney in their typically thoughtful way. These issues were on my mind, but their perspective added a new dimension for me.

It’s the episode we’ve been wanting to make for years. In our season premiere, we’re talking about the N-word. It’s both unspeakable and ubiquitous. A weapon of hate and a badge of belonging. After centuries of evolution, it’s everywhere — art, politics, everyday banter — and it can't be ignored. So we’re grappling with our complicated feelings about this word. You can find more information about today's episode here.

It’s the episode we’ve been wanting to make for years. In our season premiere, we’re talking about the N-word. It’s both unspeakable and ubiquitous. A weapon of hate and a badge of belonging. After centuries of evolution, it’s everywhere — art, politics, everyday banter — and it can't be ignored. So we’re grappling with our complicated feelings about this word. You can find more information about today's episode <a href="https://www.nytimes.com/2021/03/18/podcasts/still-processing-n-word-season-premiere.html">here</a>.

The N-Word

I will listen to anything Jenna & Wesley do together, no matter how serious or unserious, but I love it when they take something that’s weighted with centuries of emotions and pain and lift the weight, just a bit. Excellent discussion that directly comments on a recent incident at the NYT (where they work).

Reunited at last, J Wortham joins Wesley Morris in the studio for the last episode of the season. They reflect on the challenges of being apart for almost a year while J was on book leave.How did J deal with the inevitable stretches of loneliness? How do you re-enter your home and your relationships after so much time away?J and Wesley discuss how they managed to stay connected over the past year, and the role of community and intimacy in moments of tragedy.

Reunited at last, J Wortham joins Wesley Morris in the studio for the last episode of the season. They reflect on the challenges of being apart for almost a year while J was on book leave.How did J deal with the inevitable stretches of loneliness? How do you re-enter your home and your relationships after so much time away?J and Wesley discuss how they managed to stay connected over the past year, and the role of community and intimacy in moments of tragedy.

We Belong Together

Today, Wesley leaves the studio – and goes home. He embarks on a journey that involves a car named Khad'ija, a tireless 92-year-old activist and one Chinatown. Last year, President Biden signed a $1 trillion infrastructure bill into law. One part of the initiative especially struck Wesley: the federal government’s acknowledgment that its mid-century push to build a massive highway had caused suffering. Wesley started thinking about a highway that he sometimes crossed as a kid in Philadelphia: the Vine Street Expressway. When it was built in 1991, he never realized how deeply it had divided and altered the Chinatown neighborhood. What happened to all the people who were living there? How did their lives — and their communities — transform? On today’s show, Wesley returns to his hometown to try to find out. Click here for photos of Wesley's journey and more info about the episode.

Today, Wesley leaves the studio – and goes home. He embarks on a journey that involves a car named Khad'ija, a tireless 92-year-old activist and one Chinatown. Last year, President Biden signed a $1 trillion infrastructure bill into law. One part of the initiative especially struck Wesley: the federal government’s acknowledgment that its mid-century push to build a massive highway had caused suffering. Wesley started thinking about a highway that he sometimes crossed as a kid in Philadelphia: the Vine Street Expressway. When it was built in 1991, he never realized how deeply it had divided and altered the Chinatown neighborhood. What happened to all the people who were living there? How did their lives — and their communities — transform? On today’s show, Wesley returns to his hometown to try to find out. <a href="https://www.nytimes.com/2022/06/09/podcasts/still-processing-highways-biden-infastructure.html">Click here</a> for photos of Wesley's journey and more info about the episode.

When Your Neighbor’s the Highway

When Wesley was 11, he wanted to be just like Sandra from the sitcom “227,” played by Jackée Harry. Sandra was sassy, boisterous and always got what she wanted. But it took reading Margo Jefferson’s latest book, “Constructing a Nervous System: A Memoir,” for Wesley understand the complexity of this memory. On today's episode, Wesley and Margo Jefferson sift through their most deep-rooted, and sometimes difficult-to-explain cultural influences. Why did Margo adore the scatting of Ella Fitzgerald, but squirm at the sight of her sweating onstage? Why was Margo drawn to Ike Turner as a teen, but not Tina Turner? Together, Wesley and Margo unpack their cultural memories — and what they reveal about who they are now.

When Wesley was 11, he wanted to be just like Sandra from the sitcom “227,” played by Jackée Harry. Sandra was sassy, boisterous and always got what she wanted. But it took reading Margo Jefferson’s latest book, “Constructing a Nervous System: A Memoir,” for Wesley understand the complexity of this memory. On today's episode, Wesley and Margo Jefferson sift through their most deep-rooted, and sometimes difficult-to-explain cultural influences. Why did Margo adore the scatting of Ella Fitzgerald, but squirm at the sight of her sweating onstage? Why was Margo drawn to Ike Turner as a teen, but not Tina Turner? Together, Wesley and Margo unpack their cultural memories — and what they reveal about who they are now.

Sweat Equity

What happens when athletes decide to act? And what doesn’t happen? Wesley Morris and Bill Simmons, sportswriter and founder of The Ringer, break down the history of athletes in movies. They start with Jackie Robinson playing himself in 1950, discuss the Blaxpoitation-era stars and make their way to the ’90s, from “He Got Game” (where Ray Allen turns in a solid performance opposite Denzel Washington, directed by Spike Lee) to “Space Jam” (the less said, the better). They trace this phenomenon all the way to Dwayne Johnson, a.k.a. The Rock, arguably the most successful athlete-turned-actor of all time — who seems to be playing the long game. Then, they imagine a new kind of renaissance for the sports movie.

What happens when athletes decide to act? And what doesn’t happen? Wesley Morris and Bill Simmons, sportswriter and founder of The Ringer, break down the history of athletes in movies. They start with Jackie Robinson playing himself in 1950, discuss the Blaxpoitation-era stars and make their way to the ’90s, from “He Got Game” (where Ray Allen turns in a solid performance opposite Denzel Washington, directed by Spike Lee) to “Space Jam” (the less said, the better). They trace this phenomenon all the way to Dwayne Johnson, a.k.a. The Rock, arguably the most successful athlete-turned-actor of all time — who seems to be playing the long game. Then, they imagine a new kind of renaissance for the sports movie.

Can Athletes Ever Be Movie Stars?

"Fatal Attraction" came out in 1987 when Wesley was 11, and it made a permanent impression on the way he thinks about certain aspects of lust and suspense. With Jenna away on book leave, he welcomed Parul Sehgal, a staff writer at The New Yorker, to the show. Both Wesley and Parul watched “Fatal Attraction” over and over as preteens, and they’ve rewatched it multiple times in the years since. As they break down the most powerful scenes, they are reminded of the loss of high-stakes sex onscreen today. They discuss why the erotic thriller genre disappeared — and what they could gain from seeing more genuine, grown-up sex in movies.

"Fatal Attraction" came out in 1987 when Wesley was 11, and it made a permanent impression on the way he thinks about certain aspects of lust and suspense. With Jenna away on book leave, he welcomed Parul Sehgal, a staff writer at The New Yorker, to the show. Both Wesley and Parul watched “Fatal Attraction” over and over as preteens, and they’ve rewatched it multiple times in the years since. As they break down the most powerful scenes, they are reminded of the loss of high-stakes sex onscreen today. They discuss why the erotic thriller genre disappeared — and what they could gain from seeing more genuine, grown-up sex in movies.

Sex, Death & Bunnies

Wesley worries the “skip intro” button is killing the TV theme song. He takes his concern to his friend Hanif Abdurraqib, a poet, music critic and MacArthur “genius grant” winner. Together, they explore their childhood memories of “Good Times,” “The Wonder Years” and “The Jeffersons.” Then, producer Hans Buetow unearths a rendition of a theme song that blows their minds — and they vow never to hit “skip intro” on it.We have a special request: Can you identify the choir that is singing the “Good Times” theme song in this video? We’d love to find out who they are and get in touch with them. Email us at stillprocessing@nytimes.com if you have a lead. Click here for more details. Special prizes! Endless appreciation!

Wesley worries the “skip intro” button is killing the TV theme song. He takes his concern to his friend Hanif Abdurraqib, a poet, music critic and MacArthur “genius grant” winner. Together, they explore their childhood memories of “Good Times,” “The Wonder Years” and “The Jeffersons.” Then, producer Hans Buetow unearths a rendition of a theme song that blows their minds — and they vow never to hit “skip intro” on it.We have a special request: Can you identify the choir that is singing the “Good Times” theme song <a href="https://www.youtube.com/watch?v=CCEFReFcL_c" target="_blank">in this video</a>? We’d love to find out who they are and get in touch with them. Email us at stillprocessing@nytimes.com if you have a lead. <a href="https://www.nytimes.com/2022/04/21/podcasts/still-processing-binge-skip-intro.html">Click here</a> for more details. Special prizes! Endless appreciation!

Skip Intro

Wesley has been obsessed with lists since he was a child — think Casey Kasem’s American Top 40, the Academy Awards and Rolling Stone’s Top 500 Albums of All Time. Now, he wants to think more seriously about expanding what we call the canon, making sure more people have a say in which works of art are considered great, enduring and important.For guidance, Wesley sits down with Daphne A. Brooks, an academic, critic and music lover, to ask whether expanding the canon is even the right way to think about this. Her thoughts surprise him: We can do better than lists!Check out Daphne A. Brooks's reading recommendations at this link or at nytimes.com/stillprocessing.

Wesley has been obsessed with lists since he was a child — think Casey Kasem’s American Top 40, the Academy Awards and Rolling Stone’s Top 500 Albums of All Time. Now, he wants to think more seriously about expanding what we call the canon, making sure more people have a say in which works of art are considered great, enduring and important.For guidance, Wesley sits down with Daphne A. Brooks, an academic, critic and music lover, to ask whether expanding the canon is even the right way to think about this. Her thoughts surprise him: We can do better than lists!Check out Daphne A. Brooks's reading recommendations <a href="https://www.nytimes.com/2022/04/14/podcasts/still-processing-american-top-40.html">at this link</a> or at nytimes.com/stillprocessing.

American Top 40

Wesley Morris and J Wortham are working it out in this weekly show about culture in the broadest sense. That means television, film, books, music — but also the culture of work, dating, the internet and how those all fit together.

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