Planet Money

For episode 2 of Planet Money Summer School, we are talking strategy. You have your million dollar business idea, and maybe some money in your pocket to get it up and running. But now you enter into a crowded market. You have to deal with competition.

So, what can you do to make sure your product is a success? That was the conundrum facing the Starbury. It was a basketball shoe with a celebrity endorsement, that had to go up against THE basketball shoe with THE celebrity endorsement: the Air Jordan. Our first story is about the ways in which the Starbury succeeded and failed in taking on a juggernaut.

Then, we will hear a story about trying to avoid the dangers of "perfect" competition. Two companies making almost identical handbells learn that the key to their success lies in convincing customers how different they really are.

Find all episodes of Planet Money Summer School here.

The series is hosted by Robert Smith and produced by Max Freedman. Our project manager is Julia Carney. This episode was edited by Keith Romer and engineered by Robert Rodriguez. The show is fact-checked by Sierra Juarez. Planet Money's executive producer is Alex Goldmark.

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When you make an account online or install an app, you are probably entering into a legally enforceable contract. Even if you never signed anything. These days, we enter into these contracts so often, it can feel like no big deal.

But then there are the horror stories like Greg Selden's. He tried to sue AirBnB for racial discrimination while using their site. But he had basically signed away his ability to sue AirBnB when he made an account. That agreement was tucked away in a little red link, something most people might not even bother to click through.

But, it wasn't always like this. On today's show, we go back in time to understand how the law of contracts got rewritten. And why today, you can accept a contract without even noticing it.

This episode was hosted by Emma Peaslee and Jeff Guo, and was produced by James Sneed. It was edited by Jess Jiang and fact-checked by Sierra Juarez. It was engineered by James Willetts. Alex Goldmark is our Executive Producer.

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Find all episodes of Planet Money Summer School here.

Planet Money Summer School is back! It's the free economics class you can take from anywhere... for everyone! For Season 4 of Summer School, we are taking you to business school. It's time to get your MBA, the easy way!

In this first class: Everyone has a million dollar business idea (e.g., "Shazam but for movies"), but not everyone has what it takes to be an entrepreneur. We have two stories about founders who learned the hard way what goes into starting a small business, and getting it up and running.

First, a story about Frederick Hutson, who learned about pain points and unique value propositions when he founded a company to help inmates and their families share photos. Then, we take a trip to Columbia, Maryland with chefs RaeShawn and LaShone Middleton. Their steamed crab delivery service taught them the challenges of "bootstrapping" to grow their business. And throughout the episode, Columbia Business School professor Angela Lee explains why entrepreneurship can be really difficult, but also incredibly rewarding, if you have the stomach for it.

(And, we should say, we are open to investors for "Shazam but for movies." Just sayin'.)

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When it comes to big questions about the economy, we're still kind of in the dark ages. Why do some economies grow so much faster than others? How long is the next recession going to last? How do we stop inflation without wrecking the rest of the economy? These questions are the domain of macroeconomics. But even some macroeconomists themselves admit: While we have many theories about how the economy works, we have very few satisfying answers.

Emi Nakamura wants to change all that. She's a superstar economist who is a pioneer in the field of "empirical macroeconomics." She finds clever ways of using data to untangle some of the oldest mysteries in macroeconomics, about the invisible hand, the consequences of government spending, and the inner workings of inflation.

Recently we called her up to ask her why the economy is so difficult to understand in first place, and how she's trying to find answers anyway. She gets into all of that, and how Jeff Goldblum shaped her career as an economist, in this episode.

This show was hosted by Jeff Guo and Nick Fountain. It was produced by Dave Blanchard with help from Sam Yellowhorse Kesler. It was engineered by Josephine Nyounai and fact checked by Sierra Juarez. Keith Romer edited the show. Alex Goldmark is our executive producer.

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Two stories today.

First, as we start to understand post-affirmative action America, we look to a natural experiment 25 years ago, when California ended the practice in public universities. It reshaped the makeup of the universities almost instantly. We find out what happened in the decades that followed.

Then, we ask, why does it cost so much for America to build big things, like subways. Compared to other wealthy nations, the costs of infrastructure projects in the U.S. are astronomical. We take a trip to one of the most expensive subway stations in the world to get to the bottom of why American transit is so expensive to build.

This episode was hosted by Adrian Ma and Darian Woods. It was produced by Corey Bridges, and engineered by Robert Rodriguez and Katherine Silva. It was fact-checked by Sierra Juarez. Viet Le is the Indicator's senior producer. And Kate Concannon edits the show. Alex Goldmark is our executive producer.

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Back in the 90s, Ivan Lozano Ortega was in charge of Bogota's wildlife rescue center. And he kept getting calls from the airport to come deal with... frogs. Hundreds of brightly colored, poisonous frogs.

Ivan had stumbled upon the poisonous frog black market. Tens of thousands of frogs were being poached out of the Colombian rainforest and sold to collectors all around the world by smugglers. And it put these endangered frogs at risk of going extinct.

Today on the show, how Ivan tried to put an end to the poison frog black market, by breeding and selling frogs legally. And he learns that it's not so easy to get a frog out of hot water.

This episode was hosted by Stan Alcorn and Sarah Gonzalez, and co-reported and written with Charlotte de Beauvoir. It was produced by Willa Rubin with help from Emma Peaslee. It was edited by Jess Jiang. It was fact-checked by Sierra Juarez. It was engineered by Josh Newell. Alex Goldmark is our executive producer.

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The shocks of the pandemic economy gave us a bunch of enormous natural experiments, which helped to prove or disprove conventional economic thinking.

Take, for example, the bullwhip effect, the idea that the further away from the customer you are in the supply chain, the more volatile your orders are likely to be. This theory played out at an enormous scale, in the pandemic. Consumers and companies overreacted to the risk of shortages by ordering more products and hoarding them, causing massive shifts in the supply chain – just like the theory says.

And the pandemic gave us a lot of natural experiments like this. So, on this special live edition of Planet Money, we looked for other big economic lessons from the past three years, and we took this information and turned it into... a gameshow! It's Two Truths and a Lie: Econ Edition. We get into questions about the workforce and labor market during the pandemic, and how it affected how economists view the world.

This episode was hosted by Mary Childs. It was produced by Dave Blanchard, and edited by Jess Jiang. It was engineered by Josh Newell with help from Robert Rodriguez. Original music by Jesse Perlstein.

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In 1978, a young man named Mike Shanks started a moving business in the north end of Seattle. It was just him and a truck — a pretty small operation. Things were going great. Then one afternoon, he was pulled over and cited for moving without a permit.

The investigators who cited him were part of a special unit tasked with enforcing utilities and transportation regulations. Mike calls them the furniture police. To legally be a mover, Mike needed a license. Otherwise, he'd face fines — and even potentially jail time. But soon he'd learn that getting that license was nearly impossible.

Mike is the kind of guy who just can't back down from a fight. This run-in with the law would set him on a decade-long crusade against Washington's furniture moving industry, the furniture police, and the regulations themselves. It would turn him into a notorious semi-celebrity, bring him to courtrooms across the state, lead him to change his legal name to 'Mike The Mover,' and send him into the furthest depths of Washington's industrial regulations.

The fight was personal. But it drew Mike into a much larger battle, too: An economic battle about regulation, and who it's supposed to protect.

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Twins are used to fielding all sorts of questions, like "Can you read each other's minds?" or "Can you feel each other's pain?" Two of our Planet Money reporters are twins, and they have heard them all.

But it's not just strangers on the street who are fascinated by twins. Scientists have been studying twins since the 1800s, trying to get at one of humanity's biggest questions: How much of what we do and how we are is encoded in our genes? The answer to this has all kinds of implications, for everything from healthcare to education, criminal justice and government spending.

Today on the show, we look at the history of twin studies. We ask what decades of studying twins has taught us. We look back at a twin study that asked whether genes influence antisocial behavior and rule-breaking. One of our reporters was a subject in it. And we find out: are twin studies still important for science?

(Note: This episode originally ran in 2019.)

Our show today was hosted by Sally Helm and Karen Duffin. It was produced by Darian Woods and Nick Fountain. It was edited by Bryant Urstadt.

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People come from all over the world to work in U.S. tech. And during the tech boom years, the industry relied heavily on foreign workers. This is how we built Silicon Valley – with great minds coming from everywhere to work in the U.S.

But when the industry started to shrink, all of these people who moved here for work are finding that linking their jobs to their residency is really complicated. That was the case for Aashka and Nilanjan. Aashka was a product engineer at Amazon, and Nilanjan worked in digital advertising for Google. They both lost their jobs in the layoffs each company announced earlier this year.

When Aashka and Nilanjan got the news, a clock started ticking. Because they are both H-1B recipients, they only have 60 days to find new jobs before they risk being sent home. And they can't get just any job – they need new employers in their field willing to sponsor their visa.

On today's show, we followed two tech workers as they tried to find jobs before their visas expired, and what they went through as H-1B recipients trying to stay in the country.

This episode was hosted by Alyssa Jeong Perry and Amanda Aronczyk, produced by Sam Yellowhorse Kesler, engineered by James Willetts, fact-checked by Sierra Juarez, and edited by Molly Messick and Jess Jiang.

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Innovation is crucial for game-changing advancements in society, whether it's treatments for serious diseases, developments in AI technology, or rocket science.

Today on the show, we're airing two episodes from our daily economics show The Indicator. First, a new paper suggests that breakthrough innovations are more likely at smaller, younger companies. We talk to an inventor who left a big pharmaceutical company to start afresh, leading to some incredible treatments for serious diseases.

Then, it's off to Mars — or at least, on the way. Elon Musk's company SpaceX did a first test launch of a rocket meant to go all the way to the red planet. The rocket made it up off of the launch pad and lumbered briefly through the sky before self-destructing over the Gulf of Mexico. Suffice it to say, it's not quite ready. NPR science correspondent Geoff Brumfiel walks us through SpaceX's business plan as we try to figure out if this company has the funding and business acumen to reach its moonshot goal.

These two Indicator episodes were originally produced by Corey Bridges & Brittany Cronin, engineered by Katherine Silva & James Willets, and fact-checked by Dylan Sloan & Sierra Juarez. Kate Concannon edits the show.

The Planet Money version of this episode was produced by Willa Rubin, engineered by Robert Rodriguez, and edited by Keith Romer.

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In the early 90s, when a young economist named Michael Kremer finished his PhD, there had been a few economic studies based on randomized trials. But they were rare. In part because randomized trials – in which you recruit two statistically identical groups, choose one of them to get a treatment, and then compare what happens to each group – are expensive, and they take a lot of time.

But then, by chance, Michael had the opportunity to run a randomized trial in Busia, Kenya. He helped a nonprofit test whether the aid they were giving to local schools helped the students. That study paved the way for more randomized trials, and for other economists to use the method.

On today's show, how Busia, Kenya, became the place where economists pioneered a more scientific way to study huge problems, from contaminated water to low graduation rates, to HIV transmission. And how that research changed government programs and aid efforts around the world.

This episode was produced by James Sneed with help from Willa Rubin. It was engineered by James Willetts. It was fact-checked by Sierra Juarez and Emma Peaslee. It was edited by Molly Messick. Jess Jiang is our acting executive producer.

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(Note: This episode originally ran back in 2022.)

This past weekend, Spider-Man: Across the Spider-Verse had the second largest domestic opening of 2023, netting (or should we say webbing?) over $120 million in its opening weekend in the U.S. and Canada. But the story leading up to this latest Spider-Man movie has been its own epic saga.

When Marvel licensed the Spider-Man film rights to Sony Pictures in the 1990s, the deal made sense — Marvel didn't make movies yet, and their business was mainly about making comic books and toys. Years later, though, the deal would come back to haunt Marvel, and it would start a long tug of war between Sony and Marvel over who should have creative cinematic control of Marvel's most popular superhero. Today, we break down all of the off-screen drama that has become just as entertaining as the movies themselves.

This episode was originally produced by Nick Fountain with help from Taylor Washington and Dave Blanchard. It was engineered by Isaac Rodrigues. It was edited by Jess Jiang. The update was produced by Emma Peaslee, with engineering by Maggie Luthar. It was edited by Keith Romer.

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It's the thrilling conclusion to our three-part series on AI — the world premiere of the first episode of Planet Money written by AI. In Part 1 of this series, we taught AI how to write an original Planet Money script by feeding it real research and interviews. In Part 2, we used AI to clone the voice of our former colleague Robert Smith.

Now, we've put everything together into a 15-minute Planet Money episode. And we've gathered some of our co-hosts to listen along.

So, how did the AI do? You'll have to listen to learn what went surprisingly well, where it fell short, and hear reactions from the real-life hosts whose jobs could be at risk of being replaced by the machines.

This episode was produced by Emma Peaslee and Willa Rubin. It was engineered by James Willetts and fact-checked by Sierra Juarez. Keith Romer edited this series and Jess Jiang is our acting executive producer.

In the radio play, Mary Childs voiced Ethel Kinney; Willa Rubin voiced Alice; and Kenny Malone voiced Dr. Jones and Dial Doom 5000.

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In Part 1 of this series, AI proved that it could use real research and real interviews to write an original script for an episode of Planet Money. Our next task was to teach the computer how to sound like us. How to read that script aloud like a Planet Money host.

On today's show, we explore the world of AI-generated voices, which have become so lifelike in recent years that they can credibly imitate specific people. To test the limits of the technology, we attempt to create our own synthetic voice by training a computer on recordings of former Planet Money host Robert Smith. Then we introduce synthetic Robert to his very human namesake.

There are a lot of ethical, and economic, questions raised by a technology that can duplicate anyone's voice. To help us make sense of it all, we seek the advice of an artist who has embraced AI voice clones: the musician Grimes.

This episode was produced by Emma Peaslee and Willa Rubin, with help from Sam Yellowhorse Kesler. It was edited by Keith Romer and fact-checked by Sierra Juarez. Engineering by James Willetts. Jess Jiang is our acting executive producer.

We built a Planet Money AI chat bot. Help us test it out: Planetmoneybot.com.

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We used to think some jobs were safe from automation. Though machines have transformed industries like agriculture and manufacturing, the conventional wisdom was that they could never perform what's called "knowledge work." That the robots could never replace lawyers or accountants — or journalists, like us.

Well, ever since the release of artificial intelligence tools like ChatGPT, it feels like no job is safe. AI can now write essays, generate computer code, and even pass the bar exam. Will work ever be the same again?

Here at Planet Money, we are launching a new three-part series to understand what this new AI-powered future looks like. Our goal: to get the machines to make an entire Planet Money show.

In this first episode, we try to teach the AI how to write a script for us from scratch. Can the AI do research for us, interview our sources, and then stitch everything together in a creative, entertaining way? We're going to find out just how much of our own jobs we can automate — and what work might soon look like for us all.

(And, in case you're wondering... this text was not written by an AI.)

This episode was produced by Emma Peaslee and Willa Rubin. It was edited by Keith Romer. Maggie Luthar engineered this episode. It was fact-checked by Sierra Juarez. Jess Jiang is Planet Money's acting executive producer.

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Lyle Jack wants to build a wind farm on the Pine Ridge Reservation in South Dakota. But to make the project work, he has to connect that wind farm to the electric grid. Which is easier said than done. On today's show - how the green energy revolution may live, or die, by bureaucrats trying to untangle a mess of wires.

This episode was produced by Willa Rubin. It was edited by Sally Helm, fact-checked by Sierra Juarez, and engineered by Katherine Silva. Jess Jiang is our acting executive producer.

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It's time for another installment of ... Planet Money Predictions! *air horn*

Last year, we invited two economic forecasters to tell us what they saw coming for jobs, the housing market, and inflation. And now they're back. Which means it's time to find out whose predictions were more on the money, and send the victor to the next round, where they face off against a new forecasting phenom.

Since our last game, housing and inflation have cooled, but the job market keeps going strong. And the possibility of a recession still looms large. Our forecasters tell us what they see in the economy now, and what they expect in the months ahead.

This episode was produced by James Sneed. It was engineered by Katherine Silva. It was fact-checked by Sierra Juarez and edited by Molly Messick. Jess Jiang is our acting executive producer.

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For the last four decades, technology has been mostly a force for greater inequality and a shrinking middle class. But new empirical evidence suggests that the age of AI could be different. We speak to MIT's David Autor, one of the greatest labor economists in the world, who envisions a future where we use AI to make a wider array of workers much better at a whole range of jobs and help rebuild the middle class.

This episode was produced by Dave Blanchard and edited by Molly Messick. It was fact-checked by Sierra Juarez and engineered by Katherine Silva. Jess Jiang is Planet Money's acting executive producer.

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Economists say that inflation is just too much money chasing too few goods.

But something else can make inflation stick around.

If you think of the 1970s, the last time the U.S. had really high sustained inflation, a big concern was rising wages. Prices for goods and services were high. Workers expected prices to be even higher next year, so they asked for pay raises to keep up. But then companies had to raise their prices more. And then workers asked for raises again. This the so-called wage-price spiral.

So when prices started getting high again in 2021, economists and the U.S. Federal Reserve again worried that wage increases would become a big problem. But, it seems like the wage-price spiral hasn't happened. In fact wages, on average, have not kept up with inflation.

There are now concerns about a totally different kind of spiral: a profit-price spiral. On today's show, why some economists are looking at inflation in a new light.

This episode was produced by Sam Yellowhorse Kesler and engineered by Katherine Silva, with help from Josh Newell. It was fact-checked by Sierra Juarez and edited by Jess Jiang.

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(Note: this episode originally ran in 2019.)

In the 1800s, catching your train on time was no easy feat. Every town had its own "local time," based on the position of the sun in the sky. There were 23 local times in Indiana. 38 in Michigan. Sometimes the time changed every few minutes.

This created tons of confusion, and a few train crashes. But eventually, a high school principal, a scientist, and a railroad bureaucrat did something about it. They introduced time zones in the United States. It took some doing--they had to convince all the major cities to go along with it, get over some objections that the railroads were stepping on "God's time," and figure out how to tell everyone what time it was. But they made it happen, beginning on one day in 1883, and it stuck. It's a story about how railroads created, in all kinds of ways, the world we live in today.

This episode was originally produced by Alexi Horowitz-Ghazi and edited by Jacob Goldstein. Jess Jiang is Planet Money's Acting Executive Producer.

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Back in 2005, Burt Banks inherited a plot of old family land in Delaware. But when it came time to sell it, he ran into a problem: his neighbor had a goat pen, and about half of it crossed over onto his property.

Burt asked the goats' owner to move the pen, but when neighborly persuasion failed to get the job done, he changed his strategy. He sued her. And that is when things got complicated.

Protecting private property is one of the fundamental jobs of the American legal system. If you hold a deed saying you own a plot of land, it's your land. End of story. Right?

But, as Burt would soon learn, the law can get really complicated when it comes to determining who actually owns something. And when goats are involved ... anything can happen.

This episode was produced by Willa Rubin and Dylan Sloan and edited by Molly Messick. It was fact-checked by Sierra Juarez. Katherine Silva engineered this episode. Jess Jiang is Planet Money's acting executive producer.

Help support Planet Money and get bonus episodes by subscribing to Planet Money+ in Apple Podcasts or at plus.npr.org/planetmoney.

Always free at these links: Apple Podcasts, Spotify, Google Podcasts, NPR One or anywhere you get podcasts.

Find more Planet Money: Facebook / Instagram / TikTok / Our weekly Newsletter.

Music: "Fruit Salad," "Keep With It" and "Purple Sun."

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When you were little, what did you want to be when you grew up? An astronaut, a doctor or maybe a famous athlete? Today one of the most popular responses to that question is influencer – content creators who grow their following on Tik Tok, Instagram and YouTube and monetize that content to make it their full-time job.

In a lot of ways influencing can seem like the dream job - the filters, the followers, the free stuff. But on the internet, rarely is anything as it appears. From hate comments and sneaky contracts to prejudice and discrimination, influencers face a number of hurdles in their chosen careers.

This week we're bringing you two stories from our daily show The Indicator on the promise and perils of the multi-billion dollar influencer industry.

This episode was produced by Corey Bridges and Janet Lee. It was engineered by Robert Rodriguez and Katherine Silva. It was fact-checked by Sierra Juarez and Dylan Sloan. Emily Kinslow was the podcast coordinator for this series. Viet Le is The Indicator's senior producer. Kate Concannon edits the show. Our acting executive producer is Jess Jiang.

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After a successful career in advertising, Erika Williams decided it was time for a change. She went back to school to get an MBA at the University of Chicago, and eventually, in 2012, she got a job at Wells Fargo as a financial advisor. It was the very job she wanted.

Erika is Black–and being a Black financial advisor at a big bank is relatively uncommon. Banking was one of the last white collar industries to really hire Black employees. And when Erika gets to her office, she's barely situated before she starts to get a weird feeling. She feels like her coworkers are acting strangely around her.

"I was just met with a lot of stares. And then the stares just turned to just, I mean, they just pretty much ignored me. And that was my first day, and that was my second day. And it was really every day until I left."

She wasn't sure whether to call her experience racism...until she learned that there were other Black employees at other Wells Fargo offices feeling the exact same way.On today's episode, Erika's journey through these halls of money and power. And why her story is not unique, but is just one piece of the larger puzzle.

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Note: This episode originally aired in September, 2014.

Zoos follow a fundamental principle: You can't sell or buy the animals. It's unethical and illegal to put a price tag on an elephant's head. But money is really useful — it lets you know who wants something and how much they want it. It lets you get rid of things you don't need and acquire things that you do need. It helps allocate assets where they are most valued. In this case, those assets are alive, and they need a safe home in the right climate.

So zoos and aquariums are left asking: What do you do in a world where you can't use money?

This episode was originally produced by Jess Jiang.

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Imagine if we built cars the same way we build houses. First, a typical buyer would meet with the car designer, and tell them what kind of car they want. Then the designer would draw up plans for the car.

The buyer would call different car builders in their town and show them the blueprints. And the builders might say, "Yeah, I can build you that car based on this blueprint. It will cost $1 million and it will be ready in a year and a half."

There are lots of reasons why homes are so expensive in the U.S., zoning and land prices among them. But also, the way we build houses is very slow and very inefficient. So, why don't we build homes the way we build so many other things, by mass producing them in a factory?

In this episode, the century-old dream of the factory-built house, and the possibility of a prefab future.

This episode was produced by Emma Peaslee. Molly Messick edited the show, and it was fact-checked by Sierra Juarez. Brian Jarboe mastered the episode. Jess Jiang is our acting Executive Producer.

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This past January, researchers uncovered that Black taxpayers are three to five times as likely to be audited as everyone else. One likely reason for this is that the IRS disproportionately audits lower-income earners who claim a tax benefit called the earned income tax credit. And this, says law professor Dorothy Brown, is just one example of the many ways that race is woven through our tax system, its history, and its enforcement.

Dorothy discovered the hidden relationship between race and the tax system sort of by accident, when she was helping her parents with their tax return. The amount they paid seemed too high. Eventually, her curiosity about that observation spawned a whole area of study.

This episode is a collaboration with NPR's Code Switch podcast. Host Gene Demby spoke to Dorothy Brown about how race and taxes play out in marriage, housing, and student debt.

This episode was produced by James Sneed, with help from Olivia Chilkoti. It was edited by Dalia Mortada and Courtney Stein, and engineered by James Willets & Brian Jarboe.

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Right now, the economy is running hot. Inflation is high, and central banks are pushing up interest rates to fight it. But before the pandemic, economies around the world were stuck in a different rut: low inflation, low interest rates, low growth.

In 2013, Larry Summers unearthed an old term from the Great Depression to explain why the economy was in this rut: secular stagnation. The theory resonated with Olivier Blanchard, another leading scholar, because he had made similar observations himself. Larry and Olivier would go on to build a case for why secular stagnation was a defining theory of the economy and why government policies needed to respond to it. They helped reshape many people's understanding of the economy, and suggested that this period of slow growth and low interest rates was here to stay for a long time.

But today, Larry and Olivier are no longer the duo they used to be. As inflation has spiked worldwide, interest rates have followed suit. Earlier this year, Larry announced that he was no longer on the secular stagnation train. Olivier, meanwhile, believes we're just going through a minor blip and will return to a period of low interest rates within the near future. He doesn't see the deep forces that led to a long-run decline in interest rates as just vanishing. Who's right? The future of the global economy could depend on the answer.

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Right now, the economy is all over the place. And when things get confusing, we look to basic economic indicators to help explain what's going on. Today, we're bringing you two episodes of our daily show The Indicator that focus on the bond market.

The market for U.S. treasury bonds is generally safe, predictable and pretty boring. Recently, though, it's been anything but. We look into the fluctuations in bond prices and the yield curve (one of our favorite indicators) to try to help us understand where the economy stands right now.

These two Indicator episodes were originally produced by Brittany Cronin and Noah Glick. They were fact-checked by Sierra Juarez and engineered by Gilly Moon and Katherine Silva. Kate Concannon edits The Indicator.

The Planet Money version was produced by Dylan Sloan and edited by Dave Blanchard.

Music: "Funk Lounge," "A Fulltime Job" and "Velvet Groove."

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It's been a month since the collapse of Silicon Valley Bank touched off the worst episode of banking turmoil since 2008. While the financial system appears to have stabilized, we're still reckoning with what happened. Regulators are getting dragged before Congress. The Federal Reserve and the FDIC have promised reports on what went wrong with bank oversight. And judging by our inbox, you, our listeners, have a lot of lingering questions.

Questions like: Was it a bailout? Where were the regulators? Is it over yet? And what about those other banks that were teetering on the edge?

Today on the show, some answers for you.

This episode was produced by Sam Yellowhorse Kesler with help from Willa Rubin. It was engineered by Brian Jarboe. It was fact-checked by Sierra Juarez and edited by Molly Messick. Jess Jiang is our acting executive producer.

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Puerto Rico's beaches are an integral part of life on the island, and by law, they're one of the few places that are truly public. In practice, the sandy stretch of land where the water meets the shore is one of the island's most contested spaces.

Today we're featuring an episode of the podcast La Brega from WNYC Studios and Futuro Studios, a show about Puerto Rico and the Puerto Rican experience. On the island, a legal definition dating back to the Spanish colonial period dictates what counts as a beach. But climate change, an influx of new residents and a real estate boom are all threatening legal public access to some of Puerto Rico's most cherished spaces. The debate all comes down to one question: what counts as a beach?

You can listen to the rest of La Brega (in English and Spanish) here. They have two full seasons out, which explore the Puerto Rican experience through history and culture. Check it out.

This episode was reported by Alana Casanova-Burgess and produced by Ezequiel Rodriguez Andino and Joaquin Cotler, with help from Tasha Sandoval. It was edited by Mark Pagan, Marlon Bishop, and Jenny Lawton and engineered by Joe Plourde. The zona maritimo terrestre was sung as a bolero by Los Rivera Destino.

The Planet Money version was produced by Dave Blanchard, fact checked by Sierra Juarez, edited by Keith Romer, and engineered by Brian Jarboe.

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In the first half of March, three banks - Silicon Valley Bank, Signature Bank, and Silvergate - all had relatively classic bank runs and collapsed. Which sparked some major banking stress. As a result, the Federal Reserve got a lot of requests to use one of its oldest and most important tools for soothing such troubles: the discount window.

The discount window is like a safety net for banks. And recently, a lot of banks have needed it. So, what is the discount window, where did it come from, and how does it work? And, amidst all the recent banking turmoil, has it been working the way it should? In this episode, we crack open the discount window.

This episode was produced by Emma Peaslee with help from Willa Rubin. It was engineered by Katherine Silva. It was fact-checked by Sierra Juarez and edited by Sally Helm. Jess Jiang is our acting executive producer.

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Earlier this month, we saw the largest bank collapse since the 2008 financial crisis. For many of us, seeing Silicon Valley Bank's meltdown brought us right back to that time 15 years ago, at the beginning of what would become the Great Recession.

In early 2009, one or two banks were failing every week. That's when Planet Money reporter Chana Joffe-Walt went inside one of those banks: the Bank of Clark County, in Washington State. Her reporting on the inner workings of a bank collapse and government takeover helps explain exactly what happens when a bank goes under, minute-by-minute.

This story originally aired in March 2009 on This American Life, from WBEZ Chicago. We're airing it for the first time in full on our podcast.

This version of the story was produced by Dylan Sloan and edited by Dave Blanchard. It was fact-checked by Sierra Juarez and engineered by Katherine Silva. Jess Jiang is Planet Money's acting executive producer.

Music: "Butter" "Bassline Motion" and "Fantasmi."

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Richard J. Lonsinger is a member of the Ponca tribe of Oklahoma, who was adopted at a young age into a white family of three. He eventually reconnected with his birth family, but when his birth mother passed away in 2010, he wasn't included in the distribution of her estate. Feeling both hurt and excluded, he asked a judge to re-open her estate, to give him a part of one particular asset: an Osage headright.

An Osage headright is a share of profits from resources like oil, gas, and coal that have been extracted from the Osage Nation's land. These payments can be sizeable - thousands or even tens of thousands of dollars a year. Historically, they were even larger – in the 1920s the Osage were some of the wealthiest people in the world. But that wealth also made them a target and subject to paternalistic and predatory laws. Over the previous century, hundreds of millions of dollars in oil money have been taken from the Osage people.

On today's show: the story of how Richard Lonsinger gradually came to learn this history, and how he made his peace with his part of a complicated inheritance.

This episode was produced by Willa Rubin with help from Alyssa Jeong Perry and Emma Peaslee. It was engineered by Brian Jarboe and fact-checked by Sierra Juarez. It was edited by Keith Romer, with help from Shannon Shaw Duty from Osage News.

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Sometimes you hear these stories about an airplane that suddenly nosedives. Everyone onboard thinks this is it, and then the plane levels out and everything is fine. For about 72 hours, people and companies that had deposited millions of dollars at the Silicon Valley Bank — many of whom were in the tech industry — thought they had lost absolutely everything to a bank collapse.

Two weeks later, the situation at Silicon Valley Bank has leveled off. The FDIC seized the bank and eventually made all of its depositors whole. But to understand what that financial panic felt like, we retrace the Silicon Valley Bank run and eventual collapse. We hear from four people who were part of the bank run — when they realized early rumblings, what it felt like in the full stampede, what hard decisions they faced, and what the aftermath felt like. And along the way, we uncover the lessons you can only learn when you think the entire world is ending.

This episode was reported by Kenny Malone, produced by Alyssa Jeong Perry with help from Dave Blanchard, engineered by Brian Jarboe, fact-checked by Sierra Juarez, and edited by Jess Jiang.

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Since we started Planet Money Records and released the 47-year-old song "Inflation," the song has taken off. It recently hit 1 million streams on Spotify. And we now have a full line of merch — including a limited edition vinyl record; a colorful, neon hoodie; and 70s-inspired stickers — n.pr/shopplanetmoney.

After starting a label and negotiating our first record deal, we're taking the Inflation song out into the world to figure out the hidden economics of the music business. Things get complicated when we try to turn the song into a viral hit. Just sounding good isn't enough and turning a profit in the music business means being creative, patient and knowing the right people.

This is part three of the Planet Money Records series. Here's part one and part two.

Listen to "Inflation" on Apple Music, Spotify, YouTube Music, Tidal, Amazon Music & Pandora.

Listen to our remix, "Inflation [136bpm]," on Spotify, YouTube Music & Amazon Music.

"Inflation" is on TikTok. (And — if you're inspired — add your own!)

This episode was reported by Erika Beras and Sarah Gonzalez, produced by Emma Peaslee and James Sneed, edited by Jess Jiang and Sally Helm, engineered by Brian Jarboe, and fact-checked by Sierra Juarez.
Music: "Inflation," "Superfly Fever," "Nola Strut" and "Inflation [136bpm]."

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Silicon Valley Bank was the 16th largest bank in America, the bank of choice for tech startups and big-name venture capitalists. Then, in the span of just a few days, it collapsed. Whispers that SVB might be in trouble spread like wildfire through group texts and Twitter posts. Depositors raced to empty their accounts, withdrawing $42 billion in a single day. Last Friday, after regulators declared that SVB had failed, the FDIC seized the bank.

As the dust settles on the biggest bank failure — and bank rescue — in recent memory, we're still figuring out what happened. But poor investment choices, weak regulation, and customer panic all played their parts. We'll look into the bank's collapse to understand what it can teach us about the business of banking itself.

This episode was produced by Willa Rubin, with help from Dave Blanchard. It was edited by Keith Romer, and engineered by Brian Jarboe. Fact-checking by Sierra Juarez. Our acting executive producer is Jess Jiang.

Music: "I Don't Do Gossip," "Groovy Little Penguins" and "Vision."

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Over the past year, dozens of shows have been disappearing from streaming platforms like HBO Max and Showtime. Shows like Minx, Made for Love, FBoy Island, and even big budget hits like Westworld have been removed entirely.

So why did these platforms, after investing millions of dollars in creating original content, decide not just to cancel those shows, but to make them unavailable altogether?

We dive into the economics of the television industry looking for answers to a streaming mystery that has affected both fans and creatives. And we find out what happens when the stream runs dry.

This episode was produced by Willa Rubin with help from Emma Peaslee. It was edited by Keith Romer. Engineering by Josh Newell. Sierra Juarez checked the facts. Jess Jiang is our acting executive producer.

We want to hear your thoughts on the show! We have a short, anonymous survey we'd love for you to fill out: n.pr/pmsurvey

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As a kid, Ryanne Jones' friend accidentally hit her in the mouth with a hammer, knocking out her two front teeth. Her parents never had enough money for the dental care needed to fix them, so Ryanne lived much of her adult life with a chipped and crooked smile.

Ryanne spent a while as a single mom working low-wage jobs, but she had higher aspirations: she interviewed dozens of times a year for higher-paying roles that she was more than qualified for. But she never landed any of them. And to her, it really seemed like the only thing standing between her and a better job was her rotting, brown front teeth.

Our physical appearances can communicate a lot about our financial status. There are some things, such as clothing, that we have more control over. But there are other things that we don't — and they can have serious long-term economic consequences.

This episode was originally run as part of Marketplace's This is Uncomfortable podcast.

Reported by: Reema Khrais

Edited by: Micaela Blei.

Produced by: Zoë Saunders, Peter Balonon-Rosen, Megan Detrie, Hayley Hershman and Daniel Martinez. The Planet Money version was produced by Alyssa Jeong Perry.

Mastered by: Charlton Thorp

Music: Wonderly

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The 90s sit-com Seinfeld is often called "a show about nothing." Lauded for its observational humor, this quick-witted show focussed on four hapless New Yorkers navigating work, relationships...yada yada yada.

Jerry, George, Elaine & Kramer set themselves apart from the characters who populated shows like Friends or Cheers, by being the exact opposite of the characters audiences would normally root for. These four New Yorkers were overly analytical, calculating, and above all, selfish.

In other words, they had all the makings of a fascinating case study in economics.

Economics professors Linda Ghent and Alan Grant went so far as to write an entire book on the subject, Seinfeld & Economics. The book points readers to economic principles that appear throughout the show, ideas like economic utility, game theory, and the best way to allocate resources in the face of scarcity.

On today's show, we make the case that Seinfeld is, at its heart, not a show about nothing, but a show about economics. And that understanding Seinfeld can change the way you understand economics itself.

This episode was produced by Alyssa Jeong Perry with help from Emma Peaslee. It was edited by Keith Romer. It was mastered by Robert Rodriguez and fact-checked by Sierra Juarez. Jess Jiang is our acting executive producer.

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If you are a congressperson or a senator and you have an idea for a new piece of legislation, at some point someone will have to tell you how much it costs. But, how do you put a price on something that doesn't exist yet?

Since 1974, that has been the job of the Congressional Budget Office, or the CBO. The agency plays a critical role in the legislative process: bills can live and die by the cost estimates the CBO produces.

The economists and budget experts at the CBO, though, are far more than just a bunch of number crunchers. Sometimes, when the job is really at its most fun, they are basically tasked with predicting the future. The CBO has to estimate the cost of unreleased products and imagine markets that don't yet exist — and someone always hates the number they come up with.

On today's episode, we go inside the CBO to tell the twisting tale behind the pricing of a single piece of massive legislation — when the U.S. decided to finally cover prescription drug insurance for seniors. At the time, some of the drugs the CBO was trying to price didn't even exist yet. But the CBO still had to tell Congress how much the bill would cost — even though the agency knew better than anyone that its math would almost definitely be wrong.

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More than 20 years ago, something unusual happened in the small town of Dixfield, Maine. A lady named Barbara Thorpe had left almost all of her money—$200,000—to benefit the cats of her hometown. When Barbara died in 2002, those cats suddenly got very, very rich. And that is when all the trouble began.

Barbara's gift set off a sprawling legal battle that drew in a crew of crusading cat ladies, and eventually, the town of Dixfield itself. It made national news. But after all these years, no one seemed to know where that money had ended up. Did the Dixfield cat fortune just...vanish?

In this episode, host Jeff Guo travels to Maine to track down the money. To figure out how Barbara's plans went awry. And to understand something about this strange form of economic immortality called a charitable trust.

This episode was produced by Willa Rubin with help from Dave Blanchard. It was engineered by Josh Newell. Sally Helm edited the show and Sierra Juarez checked the facts. Jess Jiang is Planet Money's acting Executive Producer.

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This episode originally ran in 2020.

In 2005, Franklin Leonard was a junior executive at Leonardo DiCaprio's production company. A big part of his job was to find great scripts. The only thing — most of the 50,000-some scripts registered with the Writers Guild of America every year aren't that great. Franklin was drowning in bad scripts ... So to help find the handful that will become the movies that change our lives, he needed a better way forward.

Today on the show — how a math-loving movie nerd used a spreadsheet and an anonymous Hotmail address to solve one of Hollywood's most fundamental problems: picking winners from a sea of garbage. And, along the way, he may just have reinvented Hollywood's power structure.

This episode was produced by James Sneed and Darian Woods, and edited by Bryant Urstadt, Karen Duffin and Robert Smith.

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Every year, the U.S. government spends more money than it takes in. In order to fund all that spending, the country takes on debt. Congress has the power to limit how much debt the U.S. takes on. Right now, the debt limit is $31.4 trillion dollars. Once we reach that limit, Congress has a few options so that the government keeps paying its bills: Raise the debt limit, suspend it, or eliminate it entirely.
That debate and negotiations are back this season. One thing that is in short supply, but very important for these negotiations, is good information. Shai Akabas, of the Bipartisan Policy Center, knows this well. Right now, he and his team are working on figuring out when exactly the U.S. government could run out of money to pay its obligations — what they've dubbed: the "X Date."
Shai is determined to help prevent the U.S. government from blowing past the X Date without a solution. But this year's debt-ceiling negotiations are not going very well. Which is daunting, because if lawmakers don't figure something out, the ramifications for the global economy could be huge.
So, how did Shai become the go-to expert at the go-to think tank for debt ceiling information? It started in 2011, back when he and current Chair of the Federal Reserve Jay Powell, armed with a powerpoint and the pressure of a deadline, helped stave off economic disaster.
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A lot of the time, economic policy can seem pretty impersonal — cold, hard, data-driven. But at the heart of the Federal Reserve are people: fallible, complicated people who are just doing their best to steer the economy in the right direction.

Often, we remember them just for their economic decisions. But today, we're airing two episodes from our daily economics show The Indicator that profile the people inside the Fed. First, we're heading back to the 1970s to revisit Arthur Burns' oft-criticized stint as Fed chair. Next, we have a conversation with Mary Daly, the current president of the San Francisco Fed, about her remarkable path from high school dropout to one of the most important economic voices in the nation.

These two Indicator episodes were originally produced by Viet Le and Brittany Cronin. They were fact-checked by Sierra Juarez and Dylan Sloan and edited by Kate Concannon. The Planet Money version was produced by Dylan Sloan, engineered by Josh Newell and edited by Dave Blanchard.

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Every Valentine's Day, we at Planet Money consider the things that we love, the things that we can't stop talking about, the things that get our hearts racing...in a good way. And we give them valentines!

This year our valentines go out to:

ImportYeti, a website that lets you see exactly where U.S. companies are importing goods from.

Economic data revisions, those tweaks to the data that make things like the jobs numbers even more accurate.

The office (the place, not the show).

Audio description, narration designed to make TV and movies more accessible to people who are blind or low-vision, but which offers benefits to the sighted as well.

This show was produced by Emma Peaslee. It was edited by Keith Romer, and engineered by Robert Rodriguez. Jess Jiang is our acting Executive Producer.

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Take a look in any supermarket ice cream freezer section and you may see a mystery. There are big containers of the typical ice cream brands: Breyers, Turkey Hill, and Edy's. And there are specialty brands that make gelato, low-fat and vegan ice creams. And then there are the fancy pints: which is mostly Ben & Jerry's and Häagen-Dazs.

Häagen-Dazs has flavors like vanilla, chocolate, pistachio—the sort of flavors that run smooth. And then Ben & Jerry's specializes in chunky flavors: Cherry Garcia, The Tonight Dough, Chunky Monkey, etc. The two hardly ever cross into the other's turf. Why?

It's possible they are experiencing something common to natural competition—they are specializing in what works best for them. But, as Christopher Sullivan of the University of Wisconsin-Madison suspects, the two companies may be engaging in what is known as "tacit collusion," where two parties silently agree to... stick to their own territory.

We try to get to the creamy core of what makes up a conspiracy, and how the consumer eventually loses out in this cold, cold war.

Today's episode was produced by Willa Rubin and Alyssa Jeong Perry. It was engineered by Josh Newell and fact-checked by Sierra Juarez. It was edited by Jess Jiang.

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Anyone who has tried shopping for day care knows that it is tough out there.

For one, it is hard even to get your hands on information about costs, either online or over the phone – day cares will often only share their prices after you have taken a tour of their facilities. Even once you find a place you like, many day cares have waitlists stretching 6 months, 9 months, a year.

Waitlists are a classic economic sign that something isn't right, that prices are too low. But ask any parent and they will tell you that prices for day cares are actually too high. According to a recent report from the U.S. Treasury, more than 60% of families can't afford the full cost of high quality day care. Meanwhile, day care owners can barely afford to stay open. No one is happy.

On today's show, we get into the very weird, very broken market for day care. We will try to understand how this market can simultaneously strain parents' budgets and underpay its workers. And we will look at a few possible solutions.

This show was produced by Sam Yellowhorse Kesler. Emma Peaslee helped book the show. It was mastered by Gilly Moon. Keith Romer edited this episode. Jess Jiang is our acting Executive Producer.

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It's Groundhog Day, and once again, the eyes of the nation have turned to a small town in Western Pennsylvania. Every February 2nd, the only story anyone can talk about is whether or not Punxsutawney Phil will see his own shadow. If he does: six more weeks of winter. If he doesn't: spring is on its way.

This year, in a cruel twist of fate reminiscent of the 1993 movie Groundhog Day, two Planet Money hosts have found themselves facing a curse. They'll be trapped in this never-ending groundhog news cycle until they can find a new February 2nd story to tell...something that has nothing to do with one furry prognosticator... something that changed the economy forever.

So rise and shine campers, and don't forget your booties as we journey through a series of Groundhog Days past to try to find a historical scoop.

This show was produced by Dave Blanchard and edited by Sally Helm. It was engineered by Robert Rodriguez and Gilly Moon and fact-checked by Sierra Juarez. Planet Money's acting executive producer is Jess Jiang.

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A great economics paper does two things. It takes on a big question, and it finds a smart way to answer that question.

But some papers go even further. The very best papers have the power to change lives.That was the case for three economists we spoke to: Nancy Qian, Belinda Archibong, and Kyle Greenberg.

They all stumbled on important economics papers at crucial moments in their careers, and those papers gave them a new way to see the world. On today's show - how economics papers on the Pentecostal church in Ghana, the Vietnam war draft, and the price of butter in Sweden shaped the courses of three lives.

This episode was produced by Sam Yellowhorse Kesler. It was edited by Keith Romer. Sierra Juarez checked the facts, and it was mastered by Natasha Branch with help from Gilly Moon. Jess Jiang is our acting executive producer.

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