This interlude pivots from the neofeudal to the neoliberal, terms that are sometimes used synonymously in contemporary political theory. It addresses two popular film adaptations of Austen and Scotts novels: Clueless and Rob Roy. Released during the mid-1990s, an era of hyperactive economic speculation, both films dramatize the perils of a quantifiable form of social relations made possible by mass financialization. However, while the films critique financialized honor, this time it is an aesthetic derived from Austen, and not Scott, that deftly undercuts honor codes premised on credit and debt.