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"Over a decade ago, Jorge Castaneda wrote the classic Utopia Unarmed, which offered a penetrating and comprehensive account of the Latin American left's fate at the end of the Cold War. Since then, the left across Latin America has travelled in paths no one could have predicted. Latin American nations from Mexico to Argentina wavered for years between leftism and American-supported neoliberalism, but in recent years the left has experienced a tremendous resurgence throughout the region. However, the left is not unified, and as Castaneda, Morales, and their contributors show, it has followed two distinct paths - a more cosmopolitan style leftism, exemplified by Brazil and Chile, and a left fuelled by populist nationalism that has clear debts to Peron or Cardenas, and is most evident in Venezuela, Mexico's PRD, Bolivia, and Argentina. Leftovers comprehensively updates this very important story, with country and area specialists contributing."--Jacket

This introductory article reassesses the understudied and critical role of food in French (post)colonial studies. Through the examples of Banania and the French 'gastronomic civilising mission', it investigates the links between the development of new tastes and the establishment, success, maintenance and limits of empire, both abroad and at home. This special issue, entitled 'Food and the French Empire', shows that the production, circulation, preparation and consumption of food shaped and were shaped by imperial ideologies and forms of domination. Conversely, food circulation tangibly delineates variations within and across empires, as well as the limitations and long-term ramifications of imperialism as an ideology and enterprise. The special issue encompasses specific foodstuffs, cuisines and food practices from early empire to post-immigration, across the French colonial empire. It shows the persistent relevance of colonial alimentary exploitation to the understanding of contemporary, global food systems.

This article examines The Leftovers as a response to variations of nihilism: theological, existential and scientific. Situating The Leftovers within existential responses to nihilism—particularly Friedrich Nietzsche—will be addressed. However, to fully come to terms with The Leftovers' contribution to philosophy and popular culture it will be essential to examine the extent the series offers alternatives to nihilism. My argument will be that The Leftovers, as a form of film-philosophy offers a unique metaphysical art. The Leftovers, I argue, provides a type of "spiritual realism," blending both materialist and metaphysical themes charting a 'middle way' between materialism and supernaturalism. Firstly, I aim to examine how far The Leftovers can be classified as a form of film-philosophy. I argue that The Leftovers can be considered a form of ethical film-philosophy, one which thinks a specific confrontation with nihilism. Secondly, I will assess how The Leftovers' confrontation with nihilism specifically responds to affective disorders, or what Nietzsche called in The Will to Power the ways of 'self-narcotization.' The Leftovers, I argue, diagnoses the effects of nihilistic 'deadening,' most concretely through its illumination of affective disorder in the forms of anxiety, self-harm, violence, simmering aggression, social and political helplessness and fear for future generations. The Leftovers' aesthetic and atmospheric force stages humanity's vital response to a mélange of ongoing, looming and unfixed catastrophes, as posited in the series via psychological fragmentation, social collapse, familial breakdown, the apocalypticism of the Guilty Remnant. Finally, I will turn to Alain Badiou's philosophy of cinema to assess the extent The Leftovers offers a cogent response to political questions. The Leftovers does, I argue, offer a form of temporal response to the perplexities of absurdity and mortality. We see alternative values emerge in form of tenacious survival, human resilience, and the indefatigable desire ...

Certain TV series, such as The Leftovers (2014–17) and Twin Peaks: The Return (2017), encourage their fandoms to solve puzzles, search for clues, and comb the internet for answers to questions. As a result of this work, fans can consider their readings of the series legitimate, even canonical, regardless of the producers' intent. Just as queer readings can be as valid as mainstream interpretations, these fan viewers use the language and strategies of alternative viewers to legitimize their own readings.