The Sense of an Ending

Evil Corporations

In this episode, we explore the idea of “evil corporations,” prompted by a legal case in which a woman successfully sued social media companies for making their platforms addictive. We examine whether corporations deliberately design harmful products, concluding that in many cases they do, and question whether it makes sense to describe corporations as “evil” in human terms at all. Along the way, we trace a long history of suspicion toward large organisations, from the East India Company to modern tech giants, and discuss examples such as tobacco, leaded petrol and planned obsolescence. We also reflect on how corporations often rely on euphemistic language to soften harmful practices, while the individuals within them may not feel personally responsible for the outcomes. We then turn to why harmful behaviour emerges in the first place, focusing on structural forces like profit incentives, diffusion of responsibility and competitive pressures that can drive a race to the bottom. We compare corporate harms with those caused by governments, noting differences in visibility, scale and accountability, and ask whether corporations deserve particular scrutiny given their built-in amoral incentives. While we touch on alternative models such as stakeholder capitalism, we remain sceptical about their effectiveness in practice, ultimately returning to regulation as the most reliable tool available. Our conclusion is that corporations behaving badly should not come as a surprise, and that the real challenge is designing frameworks that recognise and constrain those tendencies. "Nicotine is not addictive": https://www.youtube.com/watch?v=e_ZDQKq2F08 Phoebus Cartel: https://en.wikipedia.org/wiki/Phoebus_cartel The Love Canal incident: https://en.wikipedia.org/wiki/Love_Canal Stakeholder Capitalism: https://en.wikipedia.org/wiki/Inclusive_capitalism

The Sense of an Ending

In this episode, we ask how we know when something has really ended, starting with the much-criticised finale of Game of Thrones. We explore why some endings feel satisfying while others feel rushed, artificial or unresolved, looking at the difference between fiction and real life. We discuss how stories impose structure on events, why audiences crave resolution and how endings can depend on framing, perspective and the difference between something simply stopping and something properly ending. We then broaden the discussion to real-world endings, from the Second World War and the fall of apartheid to the Cold War, the war on terror and other messier historical examples. We consider why humans are so drawn to narrative, how stories help us understand the world and why fiction may train us to expect closure that reality rarely provides. Finally, we test a five-part “endingometer” for what makes an ending work: significance, uncertainty, symbolism, irreversibility and a quiet moment of resolution.

How to Buy a Car

In this episode of the Cognitive Engineering Podcast, the team responds to a listener’s question about how to buy a car, using it as a springboard into wider ideas about decision-making. They explore the tension between analytical approaches—spreadsheets, cost breakdowns and rational comparisons—and more instinctive, emotionally driven choices. Drawing on their own contrasting experiences, from careful, criteria-based selection to impulsive, passion-led purchases, they highlight how factors like price, depreciation, usage and even the buying experience itself can influence both decisions and long-term satisfaction. The discussion also touches on how identity, politics and personal values can shape preferences, as well as the role of emotional responses in supposedly rational decisions. Broadening out beyond cars, the conversation examines how people make big, infrequent decisions more generally, from buying houses to choosing careers. The hosts discuss psychological concepts such as “maximisers” versus “satisfiers”, the role of subconscious decision-making and the tendency to rationalise choices after the fact. They note that more analysis doesn’t necessarily lead to greater satisfaction, and may even increase regret. Practical takeaways include reframing big purchases as ongoing costs versus ongoing value, being honest about what you actually care about and recognising that people quickly adapt to new possessions. Ultimately, they suggest that while structured thinking can help, overthinking can be counterproductive—and sometimes the better question isn’t which option to choose, but whether you’re asking the right question in the first place.

Accessing the Past

In this episode, we explore why some older media remain surprisingly accessible while other, much newer works become almost impossible to experience. We compare a 300-year-old piece of music that can still be played from notation with old computer games that no longer run because of lost code, outdated hardware, vanished servers or obsolete software. We discuss how digital media can be fragile precisely because it depends on layers of technology, compression and decoding, whereas older forms like printed music, books or physical records can sometimes survive in more direct and recoverable ways. We then turn to a different kind of accessibility: whether we can still appreciate older works as their original audiences did. From silent films and early recordings to Trainspotting, Star Wars, strange 1970s cinema and old sci-fi television, we ask how much cultural context, nostalgia and changing technology shape our experience. We consider whether some art forms stop evolving or whether each generation simply mistakes its own moment for the endpoint. Finally, we share examples of older media we still enjoy, from Charlie Chaplin and Laurel and Hardy to cult sci-fi and ancient decorated stone spheres. P.T.: https://en.wikipedia.org/wiki/P.T._(video_game) Difficulty of playing Black and White on the PC: https://www.reddit.com/r/gamesupport/comments/3glp00/black_white_the_first_game_on_windows_10/ Video game preservation efforts https://en.wikipedia.org/wiki/Video_game_preservation Appreciation or Nostalgia? https://from.ncl.ac.uk/nostalgia-in-retro-gaming Bronze Age stone balls https://en.wikipedia.org/wiki/Carved_stone_balls

Sensitive Topics

In this episode, we discuss a forthcoming board game about the Troubles in Northern Ireland and ask why some subjects feel uncomfortable when turned into games. We explore whether the controversy comes from the topic itself, the tone, the medium, the time elapsed since the events or the cultural distance from them. We compare this with other difficult subjects represented in films, books, video games and board games, from the Second World War and the war on terror to natural disasters and pandemics. We then look more closely at what games actually do, especially the idea of adopting temporary agency: playing a role without morally endorsing it. We ask whether participatory media are judged differently because players actively make choices, rather than simply watching or reading. Finally, we broaden the discussion into what makes board games compelling at all, comparing them with sport, horror films and other forms of imaginative suspension, before ending with a few reflections on why board games can be both intellectually rich and emotionally difficult to explain to non-gamers. The Troubles boardgame: https://www.compassgames.com/product/the-troubles-shadow-war-in-northern-ireland-pay-later/ [https://www.compassgames.com/product/the-troubles-shadow-war-in-northern-ireland-pay-later/] Guardian article about the controversy: https://www.theguardian.com/uk-news/2026/jan/23/target-mainland-planned-troubles-board-game-condemned-in-northern-ireland [https://www.theguardian.com/uk-news/2026/jan/23/target-mainland-planned-troubles-board-game-condemned-in-northern-ireland] La Famiglia: The Great Mafia War: https://boardgamegeek.com/boardgame/367517/la-famiglia-the-great-mafia-war [https://boardgamegeek.com/boardgame/367517/la-famiglia-the-great-mafia-war] Labyrinth: The War on Terror: https://boardgamegeek.com/boardgame/62227/labyrinth-the-war-on-terror-2001 [https://boardgamegeek.com/boardgame/62227/labyrinth-the-war-on-terror-2001] Agency as Art by C. Thi Nguyen: https://academic.oup.com/book/32137 [https://academic.oup.com/book/32137]