Becons

The Becons are the Behavioral Economics Oscars. They are exactly what they sound like, prizes awarded on the basis of their economic lessons. Cass Sunstein runs down this years winners.

Best picture: No, it’s not "Interstellar," and it’s not "Gone Girl." And a loud system 1 rejection of "Birdman," "The Theory of Everything," "Into the Woods" and "The Imitation Game." The biggest Becon goes to the movie that has the biggest heart, and the best scene, and the best score, and the best romance of the year (without even a single kiss). It’s a celebration of optimism bias, the value of agency, duration neglect, the illusion of control, the gambler’s fallacy, steps you can’t take back, and the human spirit. Mark Ruffalo and Keira Knightley, you are ridiculously good. "Begin Again" dances off with the Becon.

Which goes to show that while movies can teach important economic lessons, that might not be the best way to go about making a good movie (Begin Again is by the director of Once, and it is basically Once with actors instead of musicians as leads; if you choose to see one, see Once).