Trump, early on, dropped any last vestiges of what a modern political campaign should look like, continuing to stump in rallies across swing states, even after multiple assassination attempts forced the former president to encase himself in a cube of agony. He whittled down his campaign into a simple message: “I will make you wealthy and hurt everyone you hate.”

unlike the Harris campaign, he only relied on the internet for propaganda, following his son Barron’s advice, who reportedly was the one pushing him to spend his time doing manosphere podcast interviews. Meanwhile, his vice presidential pick, JD Vance, gave him an important line to Silicon Valley’s most radicalized CEOs and the country’s two most-brainrotted men, Elon Musk (metaphorical brainrot) and Robert F. Kennedy Jr. (literal brainrot).

In terms of what we can expect from Trump’s second term, conservatives have already laid out their blueprint online. They’ve spent the last four years reshaping the architecture of the social web to match their designs for American society at large. It has been easy to laugh off Musk’s purchase of Twitter and its subsequent drop into irrelevance. But irrelevance was never a bug, but a feature. Big Tech monopolists, many of whom are now congratulating Trump on his win today, have successfully created an internet of paranoid cul-de-sacs, where no one trusts each other and nothing can break through the noise.

Anyone can point at something and say it’s broken, corrupt, or destined to fail. The real challenge? Building something better. The cynic sees a proposal for change and immediately lists why it won’t work. They’re usually right about specific failure modes — systems are complex, and failure has many mothers. But being right about potential problems differs from being right about the whole.

The cynical position feels sophisticated. It signals worldliness, experience, and a certain battle-hardened wisdom. “Oh, you sweet summer child,” the cynic says, “I’ve seen how these things really work.” But what if this sophistication is itself a form of naïveté?

Cynicism comes with hidden taxes. Every time we default to assuming the worst, we pay in missed opportunities, reduced social trust, and diminished creative capacity. These costs compound over time, creating a self-fulfilling prophecy in which cynical expectations shape cynical realities.

Pattern recognition is valuable — we should learn from history and past failures. But pattern recognition becomes pattern imprisonment when it blinds us to genuinely new possibilities.

Why spend years building something that could fail when you could spend an afternoon critiquing others’ attempts and look just as smart? The cynical stance is intellectually rewarding but culturally corrosive.

The alternative to cynicism isn’t unquestioning optimism. It’s more nuanced: a clear-eyed recognition of problems coupled with the conviction that improvement is possible. Call it pragmatic meliorism — the belief that while perfect solutions may not exist, better ones do.

things are broken, AND they can be fixed; people are flawed AND capable of growth; systems are complex AND can be improved.

Here’s a more charitable reading of cynicism: it’s not an intellectual position. It’s an emotional defense mechanism. If you expect the worst, you’ll never be disappointed. If you assume everything is corrupt, you can’t be betrayed. But this protection comes at a terrible price. The cynic builds emotional armor that also functions as a prison, keeping out not just pain but also possibility, connection, and growth.

Not all domains benefit equally from cynical analysis. Some areas — scientific investigation, financial planning, and security systems — benefit from rigorous skepticism. Others — creative endeavors, relationship building, social movements — often suffer from it.

What would it look like to embrace pragmatic meliorism instead of cynicism? Acknowledging problems while focusing on solutions Learning from history without being imprisoned by it Maintaining high standards while accepting incremental progress Combining skeptical analysis with constructive action

When you feel the pull of cynicism, ask yourself: Is this helping? Is this default skepticism making you more effective or just more comfortable? Are you choosing the easy path of criticism over the harder path of creation?

I find it tremendously hopeful that “Stoner” is thriving in a world in which capitalist energies are so hellbent on distracting us from the necessary anguish of our inner lives. “Stoner” argues that we are measured ultimately by our capacity to face the truth of who we are in private moments, not by the burnishing of our public selves.

The story of his life is not a neat crescendo of industry and triumph, but something more akin to our own lives: a muddle of desires and inhibitions and compromises.

The deepest lesson of “Stoner” is this: What makes a life heroic is the quality of attention paid to it.

Americans worship athletes and moguls and movie stars, those who possess the glittering gifts we equate with worth and happiness. The stories that flash across our screens tend to be paeans to reckless ambition.

It’s the staggering acceleration of our intellectual and emotional metabolisms: our hunger for sensation and narcissistic reward, our readiness to privilege action over contemplation. And, most of all, our desperate compulsion to be known by the world rather than seeking to know ourselves.

The emergence of a robust advertising culture reinforced the notion that Americans were more or less always on stage and thus in constant need of suitable costumes and props.

Consider our nightly parade of prime-time talent shows and ginned-up documentaries in which chefs and pawn brokers and bored housewives reinvent their private lives as theater.

If you want to be among those who count, and you don’t happen to be endowed with divine talents or a royal lineage, well then, make some noise. Put your wit — or your craft projects or your rants or your pranks — on public display.

Our most profound acts of virtue and vice, of heroism and villainy, will be known by only those closest to us and forgotten soon enough. Even our deepest feelings will, for the most part, lay concealed within the vault of our hearts. Much of the reason we construct garish fantasies of fame is to distract ourselves from these painful truths. We confess so much to so many, as if by these disclosures we might escape the terror of confronting our hidden selves.

revelation is triggered by literature. The novel is notable as art because it places such profound faith in art.

At Tokyo Disneyland, for example, you can create elaborate in-reach prop displays that will never, ever be disturbed or broken by guests — rules are rules. (By the same token, I once got politely yelled at there for ducking under a chain to shortcut a completely, 100% empty line. I absolutely had to walk through the entire, empty switchback. And that’s fair, I was breaking the rules!) Whereas here in America, if your prop is not literally bolted down, it’s likely to show up on eBay / Van Eaton within the week.

honestly, a lot of it, I think, is just that some designers are amazing at imagining things, but not as amazing at imagining them surrounded by the universe. That beautiful thing you’re working on, it lives in a window on your monitor tucked under a title bar, and that’s as tricky as it gets. What if you can’t imagine your thing in its final context? What if you aren’t great at predicting human behaviors other than your own?

good design isn’t just beautiful and incredible and boundary-pushing, it also remembers what it means to be human.

Money became increasingly fake-seeming as it diverged more and more from a hard day’s work and most conventional wisdom.

The growing number of people taking chances that they barely believed in (starting an Onlyfans, going all in on a memecoin, becoming a performative racist for clicks) reflected a rational response to seeing absurd and/or conventionally shitty ideas have outsized success (Bored Apes, Trump, the Babyccino).

bucking conventional wisdom in any direction became the order of the day. Contrarianism became incredibly popular. Taking the diametrically opposed position to consensus as a shortcut to standing out in a crowded and volatile field was a key Clown Town strategy.

As a subset of contrarianism, Hot Sauce Behavior became especially popular. Hot Sauce involves taking something basic or mid and applying a socially forbidden or mysterious spice to it (in place of, or to function as, the X factor or the je ne sais quoi). This element had to be shocking, bad, atavistic, or otherwise “not normal”—it could be Nazism, grooming, the Occult, Catholicism, outright aggression, the threat of violence, or the attitudes of obscure-to-you political groups—but in smallish amounts. It made peoples’ hearts race and adrenaline pump while they consumed something otherwise bland. (This was the Tension Economy as the new Attention Economy.)

If the 2020 degen was a gambler willing to go all in on a whim… …the 2023 degen is a sophisticated risk manager We have found ourselves in a new cultural era in which multiple overlapping crises and rising interest rates have led to an emergent reckoning. It is now widely understood that it was very stupid to play crazy games with tons of excess money instead of actually improving material reality. But certain questions remain: What the fuck is anything worth today? What’s the best way to manage risk while it all comes falling down?

In chess, today’s average player is more skilled than the one from yesteryear because online exposure of advanced theory has led to regular players making the moves of masters. As Virgil once said, “One kid does a new skateboard trick, then hundreds more can do it the next day around the world.”

Everyone should be able to use their increased intelligence and awareness to better navigate the world. In reality, the irony is painful: When everyone gets smarter, things get harder. If everyone is reassessing the most-effective-tactics-available all the time, it gets harder and harder to win, even though you’re smarter and “should be in a better position.” The Yale admissions office realizes thousands of applicants have watched the same obscure how-to-get-into-Yale TikTok, and decides to change the meta: Leadership is no longer a valuable quality.

Max Pain means, even when you’re right, you’re wrong; it describes a climate in which everyone’s opinion is right at some point, but never at the right time.

This article proposes to explain why education is so difficult and contentious by arguing that educational thinking draws on only three fundamental ideas&emdash;that of socializing the young, shaping the mind by a disciplined academic curriculum, and facilitating the development of students' potential. All educational positions are made up of various mixes of these ideas. The problems we face in education are due to the fact that each of these ideas is significantly flawed and also that each is incompatible in basic ways with the other two. Until we recognize these basic incompatibilities we will be unable adequately to respond to the problems we face.

Record and fashion labels use the actual word “label,” but publishing houses, art galleries, filmmakers, and other collectives are all examples of a category we might call “culture labels” — entities that exist to fund, distribute, and promote culture of one kind or another.Most culture labels exist to promote a specific aesthetic, region, or point of view. A punk label flies the flag for punk rock with every record it puts out. A postcolonial fiction publisher creates space for marginalized voices in wider culture. These labels establish this perspective incrementally, release by release.

Labels provide seed funding to new ideas. Labels find, sign, and support talent. Labels signal to the rest of their ecosystem what matters. Taken all together, we can better appreciate what labels are. Labels are startups and institutions for culture.

It’s no coincidence that the push against labels coincided with the rise of the so-called “Creator Economy” and its new heroic myth of the independent creator who out-hustles and out-competes their way to millions of subs and riches. But the truth of the Creator Economy myth has become clear: billion-dollar platforms turning people into content factories and offering little in the way of creative support, financial security, or context in return.