Maybe, suggests the defeated interviewer, "Inland Empire" should be approached like James Joyce's "Finnegans Wake": Accessible as lyrical art, but filled with puzzles for those wanting to go deeper. Lynch nods, swigging one of his tepid cappuccinos. "Yes, with James Joyce, word combinations conjure things. He uses them as an art form and a language for abstractions. Cinema is its own language. As the sound and picture get going and things begin to happen, it can get pretty abstract, but it's a language that says something that can't be said in words -- or maybe could, by a poet."

"I like films that hold abstractions," he says. " 'Getting it' is a subjective thing, because we're all different, and each interpretation is as valid as another. The audience is putting things together as they go. If there's a bump in the intellectual understanding, let it happen. Have that experience, and then later mull things over. Let intuition kick in. It's a higher knowingness. If you try to put it into concrete terms, you're gonna block it."

Steve didn’t just read a script for the presentation. He’d been telling a version of that same story every single day for months and months during development—to us, to his friends, his family. He was constantly working on it, refining it. Every time he’d get a puzzled look or a request for clarification from his unwitting early audience, he’d sand it down, tweak it slightly, until it was perfectly polished.

He talked for a while about regular mobile phones and smartphones and the problems of each before he dove into the features of the new iPhone. He used a technique I later came to call the virus of doubt. It’s a way to get into people’s heads, remind them about a daily frustration, get them annoyed about it all over again. If you can infect them with the virus of doubt—“maybe my experience isn’t as good as I thought, maybe it could be better”—then you prime them for your solution. You get them angry about how it works now so they can get excited about a new way of doing things.

when I say “story,” I don’t just mean words. Your product’s story is its design, its features, images and videos, quotes from customers, tips from reviewers, conversations with support agents. It’s the sum of what people see and feel about this thing that you’ve created.

When you get wrapped up in the “what,” you get ahead of people. You think everyone can see what you see. But they don’t. They haven’t been working on it for weeks, months, years. So you need to pause and clearly articulate the “why” before you can convince anyone to care about the “what.”

That’s the case no matter what you make—even if you sell B2B payments software. Even if you build deep-tech solutions for customers who don’t exist yet. Even if you sell lubricants to a factory that’s been buying the same thing for twenty years.

If your competitors are telling better stories than you, if they’re playing the game and you’re not, then it doesn’t matter if their product is worse. They will get the attention. To any customers, investors, partners, or talent doing a cursory search, they will appear to be the leaders in the category. The more people talk about them, the greater their mind share, and the more people will talk about them.

A good story is an act of empathy. It recognizes the needs of its audience. And it blends facts and feelings so the customer gets enough of both. First you need enough instincts and concrete information that your argument doesn’t feel too floaty and insubstantial. It doesn’t have to be definitive data, but there has to be enough to feel meaty, to convince people that you’re anchored in real facts. But you can overdo it—if your story is only informational, then it’s entirely possible that people will agree with you but decide it’s not compelling enough to act on just yet. Maybe next month. Maybe next year.

So you have to appeal to their emotions—connect with something they care about. Their worries, their fears. Or show them a compelling vision of the future: give a human example. Walk through how a real person will experience this product—their day, their family, their work, the change they’ll experience. Just don’t lean so far into the emotional connection that what you’re arguing for feels novel, but not necessary.

And always remember that your customers’ brains don’t always work like yours. Sometimes your rational argument will make an emotional connection. Sometimes your emotional story will give people the rational ammunition to buy your product. Certain Nest customers looked at the beautiful thermostat that we lovingly crafted to appeal to their heart and soul and said, “Sure, okay. It’s pretty” and then had a thrilled, emotional reaction to the potential of saving twenty-three dollars on their energy bill.

everyone will read your story differently. That’s why analogies can be such a useful tool in storytelling. They create a shorthand for complicated concepts—a bridge directly to a common experience.

That’s another thing I learned from Steve Jobs. He’d always say that analogies give customers superpowers. A great analogy allows a customer to instantly grasp a difficult feature and then describe that feature to others. That’s why “1,000 songs in your pocket” was so powerful. Everyone had CDs and tapes in bulky players that only let you listen to 10-15 songs, one album at a time. So “1,000 songs in your pocket” was an incredible contrast—it let people visualize this intangible thing—all the music they loved all together in one place, easy to find, easy to hold—and gave them a way to tell their friends and family why this new iPod thing was so cool.

Because to truly understand many of the features of our products, you’d need a deep well of knowledge about HVAC systems and power grids and the way smoke refracts through a laser to detect fire—knowledge almost nobody had. So we cheated. We didn’t try to explain everything. We just used an analogy. I remember there was one complex feature that was designed to lighten the load on power plants on the hottest or coldest days of the year when everyone cranked up the heat or AC at once. It usually came down to just a few hours in the afternoon, a few days a year—one or more coal power plants would be brought on line to avoid blackouts. So we designed a feature that predicted when these moments would come, then the Nest Thermostat would crank the AC or heat up extra before the crucial peak hours and turn it down when everyone else was turning it up. Anyone who signed up for the program got a credit on their energy bill. As more and more people joined the program, the result was a win-win—people stayed comfortable, they saved money, and the energy companies didn’t have to turn on their dirtiest plants. And that is all well and good, but it just took me 150 word to explain. So after countless hours of thinking about it and trying all the possible solutions, we settled on doing it in three: Rush Hour Rewards.

Everyone understands the concept of rush hour—the moment when way too many people get on the road together and traffic slows to a creep. Same thing happens with energy. We didn’t need to explain much more than that—rush hours are a problem, but when there’s an energy rush hour, you can get something out of it. You can get a reward. You can actually save money rather than getting stuck with everyone else.

Quick stories are easy to remember. And, more importantly, easy to repeat. Someone else telling your story will always reach more people and do more to convince them to buy your product than any amount of talking you do about yourself on your own platforms. You should always be striving to tell a story so good that it stops being yours—so your customer learns it, loves it, internalizes it, owns it. And tells it to everyone they know.

A good product story has three elements: It appeals to people’s rational and emotional sides. It takes complicated concepts and makes them simple. It reminds people of the problem that’s being solved—it focuses on the “why.”

Guadagnino reminded me that as we come of age, we decide for ourselves what informs us, and spoke to the first time he read Burroughs. “You enter into the language of Burroughs and you understand, at 17 years old, that there are ways we can express ourselves that are so wide, sophisticated, complicated, and that you never have to adapt to a logic that is preordained.”

Burroughs in fact traveled there in 1952; The Yage Letters chronicles his experiments in his letters to Ginsberg. He was obsessed with the idea that yage could enhance telepathy. In the hallucinatory new scenes, the connection between Lee and Allerton goes to places the earthbound book could never take it.

When the screenplay is his own, firmly in Guadagnino’s hands, it’s actually fabulous — and a relief after the earlier conflict between the director and his material. At the same time, it makes no sense. That’s the most Burroughsian nod in this film: the sheer randomness and trippy outrageousness of the end. It’s very Naked Lunch — both the book and David Cronenberg’s 1991 film inspired by Burroughs, which was clearly on Guadagnino’s mind.

It’s paying more of a tribute to an adaptation of a different Burroughs book, a film that feels genuinely Burroughsian but has less of a basis in the underlying text than his own. Something is off, the essential is missing, and this may be why I didn’t feel Burroughs’s spirit.

still, I wept through scenes of Guadagnino’s film — including a hallucinatory reference to Joan’s death in which Lee does the same failed William Tell routine with Allerton — but it wasn’t for Joan or Burroughs; it was for James’s lover Michael Emerton, who  killed himself with a   gun. I wept as this beautifully designed movie, with gorgeous men in well-cut suits, gave me time to think about the karmic connections that both blessed and cursed me. I wept for Billy Jr., whose mother Burroughs had killed. Then I wept for Burroughs, and I wept for Joan.

I wept for the portrayal of transactional sex that was the “romance” the director referred to. I wept as I questioned notions of intent and integrity in transactional relationships: mine with younger, troubled men who lived on the fringes of gay culture; Burroughs’s with James; and James’s with me. Those relationships, for better or worse, follow the karmic path laid down for me 40-plus years ago. That karma, at least for me, as I flew through the past making sense of it, was neutralized by the acceptance of its very existence, its painful impact on me and those affected by it, and, finally, by releasing it. That was Guadagnino’s gift to me.

Most poignantly, I wept for James, who lives alone, unable to walk, with a brain injury that was inflicted during a gay bashing and made worse by his falls at home and sustaining further concussions. But there has been some nice news for him, as a double LP of his work as a singer-songwriter is being released on Lotuspool Records. And he told me he liked Guadagnino’s Queer — though he quibbled with the casting and look of Allerton — and that’s even better news. Guadagnino liked hearing that

On the Zoom with Guadagnino and Anderson, I wanted to ask about legacy. Are there responsibilities we who make art or work in the arts have to our elders, to the radical spirits who pushed open the doors? I mentioned the affluent gay men, usually heteronormatively married, who “rent a womb” and maybe buy an egg to drop in it so their children have their genes — all of which seems to me to be the furthest thing from queer. In response, some signifiers were mentioned. Anderson speaks to the look of the film, citing George Platt Lynes’s influence; they both chimed in about Powell and Pressburger (the Archers), of The Red Shoes; I mentioned Rainer Werner Fassbinder’s adaptation of Jean Genet’s Querelle, which Guadagnino said, indeed, influenced him. The point has been missed, and the clock is ticking. I move on, disappointed.

Will this film ignite a radical spark in younger viewers — be they queer or not? That’s what Burroughs did for me and for many, many of his readers

The craftsmanship of the film is sterling on many levels. But it is not the book I know by the writer I knew so well. It is stylish in the modality of fashion — having a “look”; it is beautiful in its entirety as a complete visual construction. It is, essentially, a gay location film. It is romantic, something of a travelogue — you might want to go where it is set, eat at the restaurants, while wearing the clothing, certainly in the company of some of the flawless boys cast. But it is not the world that the book conjures for most readers, certainly not me. This is the work of the director — as any film should be.

Still, a bad match of director and material renders confusion at best, emptiness at worst; I worried that this film could potentially misconstrue the importance of Burroughs’s role as a visionary queer writer for future generations. I was incapable of explaining this to Guadagnino and Anderson, in our 20-minute Zoom, not to mention it might have stopped the interview. But I tried.

It wasn’t just the peculiar casting of a beefy daddy like Daniel Craig as the Burroughs character, William Lee, or pretty Drew Starkey as the aloof, younger love interest, Eugene Allerton, who spends the film looking great in fabulous knitwear by Jonathan Anderson, Guadagnino’s friend and the film’s costume designer, but nothing like the image of the character I had in my head.

I don’t think we were clear enough by saying fewer people came in under President Biden than came under Donald Trump. It’s clarity of the message, and if that’s what Bernie’s talking about, and that’s what Joe Manchin’s talking about, we weren’t clear in our message as to what things are, then I agree with that. And that was one of the concerns I expressed about saying we haven’t put forth what was done. It’s our legacy, too. [Pelosi bangs on the table.] The rescue package. [Pelosi bangs on the table.] Infrastructure Bill. [Pelosi bangs on the table again.] The CHIPS Act. But that didn’t come across as well as it should have. So I think if you’re talking about messaging, you’re talking about communications, that’s one thing. If you’re talking about what we stand for versus what they stand for, the public’s in for a big surprise.

I think that any vice president is, like it or not, tied to the record of the president. I think what Biden did was great, and being tied to his record is a great thing but not the way the record was perceived. This is a record of job creation. Sixteen million jobs as opposed to the record of her opponent who had the worst job-creation record since Herbert Hoover. Yes, 16 million jobs, turning around inflation, all the things that we did to build the infrastructure of America, reduce the cost of prescription drugs.

President Trump has promised to use the Justice Department and the attorney general to go after his perceived enemies. He has said that over and over again, and you’re one of them. Well, you would think that that would be enough reason for people not to vote for him. But that’s what he said. So when people say to me, “Why do you think our democracy is in danger?” I’ll say, well, let’s define our democracy. What is democracy? Free and fair elections? Peaceful transfer of power, independence of the judiciary, the rule of law, all of those kinds of things are part of a democracy. So if he’s going after those things, and thank God, the only, shall we say, peace of mind that we have today is that we don’t have the assault on the system that would have been there had Kamala Harris won. That isn’t right. It shouldn’t be that way. And that he would say — maybe thought it, might even want to do it, but to say it and the American people will say, “That’s OK with me ”?

In the beginning, VFA was an institution beloved by many of its fellows. “It was a wonderful way to leave college and enter the real world because you’re surrounded by a community and there’s support from the organization,” says Jamie Norwood, co-founder of feminine hygiene brand Winx Health. Norwood and her co-founder, Cynthia Plotch, are a VFA success story. They met as fellows in 2015 and VFA eventually helped them launch their company with a grant and advisement. “We always say, Winx Health would not be here without VFA,” Norwood says.

Norwood and Plotch went through the standard VFA admissions protocol, which was rigorous. It required two written applications, a video interview, and in-person interviews at an event called “Selection Day,” many of which were held in New York City and Detroit over the years. By the end of each university term in May, accepted fellows would get access to Connect, VFA’s job portal, and have until November to land a job. For each fellow hired in a full-time job, VFA received a $5,000 placement fee, paid by partner companies. This fee became a crucial revenue stream for the organization—effectively wedding the professional success of its fellows to its bottom line.

Selection Day interviews were conducted by judges who often pitted interviewees against each other. Candidates were told to organize themselves in order of least to most likely to be successful, or according to whose answers had the most value per word. The format felt ruthless. “People cried” during the interview process, Plotch remembers.

The problems with the business bled into the fellows’ experience in 2023 and 2024, leaving them disenchanted, financially struggling, or expelled en masse from the program for reasons they believe were beyond their control. Despite a multitude of financial red flags, VFA leadership still insisted on recruiting for the 2024 class. “The talent team was traveling nonstop, using prepaid Visa cards since the corporate cards didn’t work,” explains a former director who worked closely with fellows.

Onboarding fresh recruits became increasingly crucial if VFA was going to survive. The organization asked companies for placement fees upfront in 2023, according to internal VFA documents and conversations with former employees. The policy change gave companies pause. Fewer companies signed up as partners, meaning fellows weren’t getting jobs and VFA was losing money.

In the spring of 2023, “there were 15 jobs on opening day,” for a class that eventually grew to over 100 fellows, the former director explains. Gabriella Rudnik, a 2023 fellow, estimates that when training camp began in July 2023, less than half of her peers had jobs, “whereas in previous years it would be closer to like 80 percent.”

Fellows were made to pay the price for the shortage of companies partnering with VFA in 2023. “We weren’t getting more jobs on Connect, and that’s what led to so many fellows being off-boarded,” explains a former director who worked closely with fellows.

Traditionally, VFA gave fellows a deadline of November of their class year to find a job, which typically meant a few stragglers were given extra help to find a position if they were late. In those rare cases during earlier years, fellows were offboarded by the organization, a former director says.

In previous years, expulsion was a much more serious and infrequent occurrence. “Removal from the fellowship was not something done lightly. During my tenure, we instituted an internal investigation process, similar to an HR investigation,” says the former executive who worked at VFA from 2017-20.  In total, at least 40 fellows from the 2023 class were expelled for failing to get jobs that weren’t available, according to research by former VFA fellows who tracked the number of fellows purged from a Slack channel. Records of their participation were removed from the VFA website, the fellows say.

Many fellows had made sacrifices to be part of the highly selective and prestigious VFA, which cited acceptance rates of around 10 percent of applicants. “There were fellows who turned down six-figure jobs to be a part of this program, and were told that the program that Andrew Yang started would live up to its reputation,” says Paul Ford, a 2024 fellow.

Though internal documents show that VFA was slowly imploding for months, in all external communications with fellows, the nonprofit still maintained that 2024 training camp would take place in Detroit.

“From an ethical perspective, it does reek of being problematic,” says Thad Calabrese, a professor of nonprofit management at New York University. “You entered into an arrangement with people who don’t have a lot of money, who believed that you were going to make them whole. Then you’re going to turn around and not make them whole.”

people mix up two very different types of pivots and that it’s important to differentiate which path you’re on: Ideation pivots: This is when an early-stage startup changes its idea before having a fully formed product or meaningful traction. These pivots are easy to make, normally happen quickly after launch, and the new idea is often completely unrelated to the previous one. For example, Brex went from VR headsets to business banking, Retool went from Venmo for the U.K. to a no-code internal tools app, and Okta went from reliability monitoring to identity management all in under three months. YouTube changed direction from a dating site to a video streaming platform in less than a week. Hard pivots: This is when a company with a live product and real users/customers changes direction. In these cases, you are truly “pivoting”—keeping one element of the previous idea and doubling down on it. For example, Instagram stripped down its check-in app and went all in on its photo-sharing feature, Slack on its internal chat tool, and Loom on its screen recording feature. Occasionally a pivot is a mix of the two (i.e. you’re pivoting multiple times over 1+ years), but generally, when you’re following the advice below, make sure you’re clear on which category you’re in.

When looking at the data, a few interesting trends emerged: Ideation pivots generally happen within three months of launching your original idea. Note, a launch at this stage is typically just telling a bunch of your friends and colleagues about it. Hard pivots generally happen within two years after launch, and most around the one-year mark. I suspect the small number of companies that took longer regret not changing course earlier.

ou should have a hard conversation with your co-founder around the three-month mark, and depending on how it’s going (see below), either re-commit or change the idea. Then schedule a yearly check-in. If things are clicking, full speed ahead. If things feel meh, at least spend a few days talking about other potential directions.

Brex: “We applied to YC with this VR idea, which, looking back, it was pretty bad, but at the time we thought it was great. And within YC, we were like, ‘Yeah, we don’t even know where to start to build this.’” —Henrique Dubugras, co-founder and CEO

That it was complicated, he now understood, was “horseshit.” “Complicated” was how people had described slavery and then segregation. “It’s complicated,” he said, “when you want to take something from somebody.”

He had also been told that the conflict was “complicated,” its history tortuous and contested, and, as he writes, “that a body of knowledge akin to computational mathematics was needed to comprehend it.” He was astonished by the plain truth of what he saw: the walls, checkpoints, and guns that everywhere hemmed in the lives of Palestinians; the clear tiers of citizenship between the first-class Jews and the second-class Palestinians; and the undisguised contempt with which the Israeli state treated the subjugated other.

The most famous of Israel’s foundational claims — that it was a necessary sanctuary for one of the world’s most oppressed peoples, who may not have survived without a state of their own — is at the root of this complication and undergirds the prevailing viewpoint of the political-media-entertainment nexus. It is Israel’s unique logic of existence that has provided a quantum of justice to the Israeli project in the eyes of Americans and others around the world, and it’s what separates Jewish Israelis from the white supremacists of the Jim Crow South, who had no justice on their side at all.

“It’s kind of hard to remember, but even as late as 2014, people were talking about the Civil War as this complicated subject,” Jackson said. “Ta-Nehisi was going to plantations and hanging out at Monticello and looking at all the primary documents and reading a thousand books, and it became clear that the idea of a ‘complicated’ narrative was ridiculous.” The Civil War was, Coates concluded, solely about the South’s desire to perpetuate slavery, and the subsequent attempts over the next century and a half to hide that simple fact betrayed, he believed, a bigger lie — the lie that America was a democracy, a mass delusion that he would later call “the Dream” in Between the World and Me.

The hallmarks of The Atlantic’s coverage include variations of Israel’s seemingly limitless “right to defend itself”; an assertion that extremists on “both sides” make the conflict worse, with its corollary argument that if only Prime Minister Benjamin Netanyahu’s Jewish-supremacist government were ousted, then progress could be made; abundant sympathy for the suffering of Israelis and a comparatively muted response to the suffering of Palestinians; a fixation on the way the issue is debated in America, particularly on college campuses; and regular warnings that antisemitism is on the rise both in America and around the world.

the overall pattern reveals a distorting worldview that pervades the industry and, as Coates writes in The Message, results in “the elevation of factual complexity over self-evident morality.” “The view of mainstream American commentators is a false equivalence between subjugator and subjugated,” said Nathan Thrall, the Jerusalem-based author of the Pulitzer Prize–winning A Day in the Life of Abed Salama, as if the Israelis and the Palestinians were equal parties in an ancient tug-of-war.

For Coates, the problem for the industry at large partly stems from the perennial problem of inadequate representation. “It is extremely rare to see Palestinians and Arabs writing the coverage or doing the book reviews,” he said. “I would be interested if you took the New York Times and the Washington Post and The Wall Street Journal and looked at how many of those correspondents are Palestinian, I wonder what you would find.” (It’s a testament to just how polarizing the issue is that many Jewish Americans believe the bias in news media works the other way around, against Israel.)

American mainstream journalism, Coates says, defers to American authority. “It’s very similar,” he told me, “to how American journalism has been deferential to the cops. We privilege the cops, we privilege the military, we privilege the politicians. The default setting is toward power.”

in the total coverage, in all of the talk of experts and the sound bites of politicians and the dispatches of credentialed reporters, a sense of ambiguity is allowed to prevail. “The fact of the matter is,” he said, “that kid up at Columbia, whatever dumb shit they’re saying, whatever slogan I would not say that they would use, they are more morally correct than some motherfuckers that have won Pulitzer Prizes and National Magazine Awards and are the most decorated and powerful journalists.”

When I asked Coates what he wanted to see happen in Israel and Palestine, he avoided the geopolitical scale and tended toward the more specific — for example, to have journalists not be “shot by army snipers.” He said that the greater question was not properly for him; it belonged to those with lived experience and those who had been studying the problem for years.

“I have a deep-seated fear,” he told me, “that the Black struggle will ultimately, at its root, really just be about narrow Black interest. And I don’t think that is in the tradition of what our most celebrated thinkers have told the world. I don’t think that’s how Martin Luther King thought about the Black struggle. I know that’s not how Du Bois thought about the Black struggle. I know that’s not how Baldwin thought about the Black struggle. Should it turn out that we have our first Black woman president, and our first South Asian president, and we continue to export 2,000-pound bombs to perpetrate a genocide, in defense of a state that is practicing apartheid, I won’t be able to just sit here and shake my head and say, ‘Well, that is unfortunate.’ I’m going to do what I can in the time that remains, and the writing that I have, to not allow that to be, because that is existential death for the Black struggle, and for Black people, as far as I’m concerned.”

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.

The fact that she’s having an affair with an intern from her own company, risking everything that she’s built, is part of the turn-on. The spark plug of Kidman’s performance is that she plays this sick recklessness as something fully human: the expression of a woman too compartmentalized to put the different parts of herself together. She’s caught up in an erotic fever, but it’s one that’s laced with agony.

Mr. Musk had largely come to peace with a price of $100 a year for Blue. But during one meeting to discuss pricing, his top assistant, Jehn Balajadia, felt compelled to speak up. “There’s a lot of people who can’t even buy gas right now,” she said, according to two people in attendance. It was hard to see how any of those people would pony up $100 on the spot for a social media status symbol. Mr. Musk paused to think. “You know, like, what do people pay for Starbucks?” he asked. “Like $8?” Before anyone could raise objections, he whipped out his phone to set his word in stone. “Twitter’s current lords & peasants system for who has or doesn’t have a blue checkmark is bullshit,” he tweeted on Nov. 1. “Power to the people! Blue for $8/month.”

What’s your relationship now to the work back then? Are you as passionate? I really had to think about that. My analysis of that is, you’re a different person with different needs. A lot of that is based on confidence. When you’re starting out in an art form or anything in life, you can’t have confidence because you don’t have experience, and you can only get confidence through experience. But you have to be pretty confident to make a film. So the only way you counterbalance that lack of experience and confidence is absolute passion, fanatical spirit. And I’ve had this conversation over the years with filmmaker friends: Am I as passionate as I was in my 20s? Would I risk my whole life? If it was my best friend or my negative drowning, which do I save? The 20-something self goes, I’m saving my film! Now it’s not that answer. I’m not ashamed to say that, because all that passion doesn’t go away. It disperses a little healthfully. I’m passionate about more things in the world. I care about more things, and that serves me. The most fascinating relationship we all have is to ourselves at different times in our lives. You look back, and it’s like, I’m not as passionate as I was at 25. Thank God. That person was very insecure, very unkind. You’re better than that now. Hopefully.

The cover immediately sets Ways of Seeing apart from its contemporaries, the book itself begins on the cover. Rather than creating a conventionally appealing cover, Hollis chose to bypass this tradition entirely, instead placing the text and an image from the start of the first chapter straight onto the front, just beneath the title and authors name. This directness has a link with the television series, mimicking how the first episode began with no preamble or title sequence, Berger got started immediately, drawing the audience in with his message rather than any distractions.

Another link to Berger’s presenting style is Hollis’ choice of typeface, bold Univers 65 is used for the body copy throughout, in an attempt to achieve something of the captivating quality of Berger’s voice.

The layout also employs large indents rather than paragraph breaks, something of a Hollis trademark. But this mirrors how Berger had presented on television, there was little time wasted with atmospheric filler shots or long gaps in speech, the message was key and continuous.

The key reason that Ways of Seeing has become iconic as a piece of book design is how it dealt with text and image: the two are integrated, where an image is mentioned in the text it also appears there. Captions are avoided where possible. When unavoidable they are in a lighter weight of type and run horizontally, so as not to disrupt the text. Images are often set at the same width as the lines of text, or indented by the same amount, this democratises the text and image relationship. Occasionally works of art are cropped to show only the pertinent details. All of these features are a big departure from the art books of the time which usually featured glorified full page colour images, often in a glossy ‘colour plate’ section in the middle, completely distanced from where the text refers to them.

Design is not used for prettifying, or to create appeal, rather it is used for elucidating, to spread his message or get his point across as clearly as possible. Be it a point about art and politics, art and gender, the ethics of advertising, the human experiences of a rural GP, or economic migrants in Germany — the design is always appropriate to what Berger wants to say, but does so economically without redundancy.

Even in Portraits: John Berger on Artists published by Verso in 2015, Berger insisted on black and white reproductions, arguing that: “glossy colour reproductions in the consumerist world of today tend to reduce what they show to items in a luxury brochure for millionaires. Whereas black-and-white reproductions are simple memoranda.”

the images in the book “illustrate the essentially dialectical relationship between text and image in Berger’s work: the pattern in which an image shapes a text, which then goes on to shape how we understand that image.”

Guadagnino brought them Challengers, which will be released this month. Reznor said, “He started us down a path, saying, ‘What if it was very loud techno music through the whole film?’ ” (This is exactly what it turned out to be.)“I wish I had his notes,” Ross said of Guadagnino. “His notes were so fucking funny on what each piece was meant to do.”“Oh, yeah,” Reznor said. “ ‘Unending homoerotic desire.’ It was all a variation on those three words.”

Film geeks don't have a whole lot of tangible things to show for their passion and commitment to film. They just watch movies all the time. What they do have to show is a high regard for their own opinion. They've learned to break down a movie. They understand what they like and don't like about a film. And they feel that they're right. It's not open to discussion. When I got involved in the movie industry I was shocked at how little faith or trust people have in their own opinions. They read a script and they like it - then they hand it to three of their friends to see what they think about it. I couldn't believe it. There's an old expression that goes something like, He with the most point of view wins.

The man-child. The people who so loved playing characters that they played characters in their real lives, too, without actually transforming themselves into more mature human beings. He knew the cliché about celebrities staying developmentally the age that they were when they became famous. But how is a beloved movie star meant to change the right way? How is he supposed to grow up? How does he meaningfully evolve his life and art without killing his core?

What happens when you deliberately defy the moves that led you where you’d always wanted to go, and try something altogether different? It was a risk. But it made perfect sense. It happens. Your family members start to die. Your elders get replaced by your peers. You pack up your life and plant roots elsewhere. You put down the instrument that made you known and pick up another one instead. You plug it in. Do you hear that? That’s the buzz of something new. Wait till you hear what it sounds like when you strum.

There is little precedent for a civilian’s becoming the arbiter of a war between nations in such a granular way, or for the degree of dependency that the U.S. now has on Musk in a variety of fields, from the future of energy and transportation to the exploration of space. SpaceX is currently the sole means by which NASA transports crew from U.S. soil into space, a situation that will persist for at least another year. The government’s plan to move the auto industry toward electric cars requires increasing access to charging stations along America’s highways. But this rests on the actions of another Musk enterprise, Tesla. The automaker has seeded so much of the country with its proprietary charging stations that the Biden Administration relaxed an early push for a universal charging standard disliked by Musk. His stations are eligible for billions of dollars in subsidies, so long as Tesla makes them compatible with the other charging standard.

In the past twenty years, against a backdrop of crumbling infrastructure and declining trust in institutions, Musk has sought out business opportunities in crucial areas where, after decades of privatization, the state has receded. The government is now reliant on him, but struggles to respond to his risk-taking, brinkmanship, and caprice

Current and former officials from NASA, the Department of Defense, the Department of Transportation, the Federal Aviation Administration, and the Occupational Safety and Health Administration told me that Musk’s influence had become inescapable in their work, and several of them said that they now treat him like a sort of unelected official

Sam Altman, the C.E.O. of OpenAI, with whom Musk has both worked and sparred, told me, “Elon desperately wants the world to be saved. But only if he can be the one to save it.

later. “He had grown up in the male-dominated culture of South Africa,” Justine wrote. “The will to compete and dominate that made him so successful in business did not magically shut off when he came home.”

There are competitors in the field, including Jeff Bezos’s Blue Origin and Richard Branson’s Virgin Galactic, but none yet rival SpaceX. The new space race has the potential to shape the global balance of power. Satellites enable the navigation of drones and missiles and generate imagery used for intelligence, and they are mostly under the control of private companies.

A number of officials suggested to me that, despite the tensions related to the company, it has made government bureaucracies nimbler. “When SpaceX and NASA work together, we work closer to optimal speed,” Kenneth Bowersox, NASA’s associate administrator for space operations, told me. Still, some figures in the aerospace world, even ones who think that Musk’s rockets are basically safe, fear that concentrating so much power in private companies, with so few restraints, invites tragedy.

Tesla for a time included in its vehicles the ability to replace the humming noises that electric cars must emit—since their engines make little sound—with goat bleats, farting, or a sound of the owner’s choice. “We’re, like, ‘No, that’s not compliant with the regulations, don’t be stupid,’ ” Cliff told me. Tesla argued with regulators for more than a year, according to an N.H.T.S.A. safety report

Musk’s personal wealth dwarfs the entire budget of OSHA, which is tasked with monitoring the conditions in his workplaces. “You add on the fact that he considers himself to be a master of the universe and these rules just don’t apply to people like him,” Jordan Barab, a former Deputy Assistant Secretary of Labor at OSHA, told me. “There’s a lot of underreporting in industry in general. And Elon Musk kind of seems to raise that to an art form.”

Some people who know Musk well still struggle to make sense of his political shift. “There was nothing political about him ever,” a close associate told me. “I’ve been around him for a long time, and had lots of deep conversations with the man, at all hours of the day—never heard a fucking word about this.”

the cuts that Musk had instituted quickly took a toll on the company. Employees had been informed of their termination via brusque, impersonal e-mails—Musk is now being sued for hundreds of millions of dollars by employees who say that they are owed additional severance pay—and the remaining staffers were abruptly ordered to return to work in person. Twitter’s business model was also in question, since Musk had alienated advertisers and invited a flood of fake accounts by reinventing the platform’s verification process

Musk’s trolling has increasingly taken on the vernacular of hard-right social media, in which grooming, pedophilia, and human trafficking are associated with liberalism

It is difficult to say whether Musk’s interest in A.I. is driven by scientific wonder and altruism or by a desire to dominate a new and potentially powerful industry.

Riverdale has gone in so many directions since it started. What did you think it was going to be?Petsch: A way to get me out of my restaurant hosting job. Charles Melton: I was a dog walker and working a Chinese takeout when I did my chemistry read with KJ and Cole for season two.In season one, Reggie was played by Ross Butler, who left to continue his role on Netflix’s 13 Reasons Why. Lili Reinhart: I had just signed a lease by myself in L.A., and I was terrified because I couldn’t afford it. This was my second time moving there to try and make it work, and I had no money and no job. I remember after my final audition, I was on the phone with my mom and told her it was the first time ever in an audition process that I felt like I truly was okay and at peace with whatever the outcome was: “I gave them my version of what this character is, take it or leave it.” That night, I found out I got it.

Casey Cott: I don’t think people understand how Riverdale works. Very quickly, before you start shooting an episode — we’re talking two days — you get the script. And sometimes you don’t even have a script. You just get an email that says, “You have a recording session.” And if you’re really lucky, you get a text from Roberto that says, “Hey, we should sing this song.” Mendes: If there’s one thing that show taught us, it’s how to wing it.

Reinhart: I think it’s important to acknowledge that our show is made fun of a lot. People see clips taken out of contextBy 2019, “Riverdale Cringe” videos had become a genre online, be they TikTok reactions to particularly funny lines of dialogue or YouTube compilations of strange moments from the show. and are like, What? I thought this was about teenagers. And we thought so as well—in season one. But it’s really not been easy to feel that you’re the butt of a joke. We all want to be actors; we’re passionate about what we do. So when the absurdity of our show became a talking point, it was difficult. It is What the fuck? That’s the whole point. When we’re doing our table reads and something ridiculous happens, Roberto is laughing because he understands the absurdity and the campiness.

If you want to watch a teen show where there’s just a bunch of kids in a high school dealing with relationship drama, there’s a lot out there. Sprouse: Go watch Euphoria. Mendes:  But Roberto didn’t want to do that. I think he wanted something that was more outlandish. Sprouse: That’s the natural life cycle of a cult program. North America is the only part of the world that raises vocal opposition to the absurdity of the show. England, which has a more dry, sort of crass, sarcastic sense of humor, loves it and gets it. We find a huge audience in France that has a fascination with classic Americana. Mendes: And don’t forget Brazil! All the show’s fan accounts. We’ve done so much that anytime we get a new script or go into a new project, it’s like, I’ve done a version of this on Riverdale.

Petsch: Does anyone remember when I had my whole-ass own church in season five? I think my favorite line is “I am Cheryl Blossom, queen of the bees!” And by “favorite,” I mean that’s the only time I ever texted Roberto and said, “Please, please, please, don’t make me say this.” I had to shake honeycombs at my mother to banish her.

Mendes: I had this long line, and I remember I was like, “I fucking hate this!” I couldn’t get it, and it was so complicated, but now it’s my little party trick. Sprouse: Say it, Cami. Petsch: Say it, girl. Mendes: “Word of my exploits serving Nick his comeuppance has seeped into the demimonde of mobsters and molls my father used to associate with.” [Everyone cheers and applauds.]

When kids are growing up, their moral compass isn’t formed yet. So there’s a dark side to it where you’re not really allowed to make mistakes. You’re supposed to make mistakes growing up and then learn from them. It changes who you are and helps you become a better person. But now, through everything being recorded, your mistakes can be immortalized for people to see, and kids aren’t allowed to make mistakes because that stuff can be brought up to tear them down later. So it’s a strange world that we’re living in now, and we won’t really know the effects of it till down the line.

I’d be in front of camera, and Danny would be behind. Danny would do a rough cut, I’d do a final cut, and then I’d do sound effects and music. And Danny would focus on VFX and color. So, during the process, we were more involved with those departments. I did a lot more with the sound and the music, and Danny did a lot more with the color. But on set, Danny would be the main voice communicating. If I had something like a direction that differed from what he was saying, I’d speak with him first and then we’d do a take like that. It was good having two of us, especially with scenes that had a lot more people. Danny could focus on the main, and I could look at the peripheral stuff. I feel like having a co-director is a bit of a cheat code. I can’t imagine doing it all by myself.

If you are wondering whether Barbie is a satire of a toy company’s capitalist ambitions, a searing indictment of the current fraught state of gender relations, a heartwarming if occasionally clichéd tribute to girl power, or a musical spectacle filled with earworms from Nicki Minaj and Dua Lipa, the answer is yes. All of the above. And then some.

Gerwig still can’t seem to believe she got away with making this version. “This movie is a goddamn miracle,” she says. She calls it a “surprising spicy margarita.” By the time you realize the salted rim has cayenne mixed in, it’s too late. “You can already taste the sweetness and you sort of go with the spice.”

Every single actor I spoke to cited Gerwig and the sharp script as the reason they joined the film. “I knew this was not going to shy away from the parts of Barbie that are more interesting but potentially a little bit more fraught,” says Hari Nef, who plays a doctor Barbie. “The contemporary history of feminism and body positivity—there are questions of how Barbie can fit into all of that.”

At one point Richard Dickson, COO and president of Mattel, says he took a flight to the London set to argue with Gerwig and Robbie over a particular scene, which he felt was off-brand. Dickson dials up his natural boyish exuberance, imitating himself righteously marching off the plane to meet them. But Gerwig and Robbie performed the scene for him and changed his mind. “When you look on the page, the nuance isn’t there, the delivery isn’t there,” explains Robbie.

Robbie had laid the groundwork for this with Mattel’s CEO when she met with him in 2018 in the hopes that LuckyChap could take on the Barbie project. “In that very first meeting, we impressed upon Ynon we are going to honor the legacy of your brand, but if we don’t acknowledge certain things—if we don’t say it, someone else is going to say it,” she says. “So you might as well be a part of that conversation.”

“The most important transition was from being a toy-manufacturing company that was making items to becoming an IP company that is managing franchises,” he says. It’s a particularly prescient strategy at a moment when superhero fatigue has set in and studios are desperate to find new intellectual property with a built-in fan base—from Super Mario Bros. to Dungeons & Dragons.

Issa Rae, 38, who plays President Barbie, argues that the entire point of the film is to portray a world in which there isn’t a singular ideal. “My worry was that it was going to feel too white feminist-y, but I think that it’s self-aware,” she says. “Barbie Land is perfect, right? It represents perfection. So if perfection is just a bunch of white Barbies, I don’t know that anybody can get on board with that.”

Still, in an interview for this story, Brenner called Gerwig’s film “not a feminist movie,” a sentiment echoed by other Mattel executives I spoke with. It was a striking contrast to my interpretation of the film and conversations with many of the actors, who used that term unprompted to describe the script. When I relay Mattel’s words to Robbie, she raises an eyebrow. “Who said that?” she asks then sighs. “It’s not that it is or it isn’t. It’s a movie. It’s a movie that’s got so much in it.” The bigger point, Robbie impresses upon me, is “we’re in on the joke. This isn’t a Barbie puff piece.”

Gerwig’s team built an entire neighborhood made up of Dream Houses that were missing walls. The actors had to be secured by wires so they wouldn’t topple off the second floors. The skies and clouds in the background were hand-painted to render a playroom-like quality, as was much of the rest of the set.

But McKinnon, 39, watched her sister and friends play with the dolls: they cut Barbie’s hair, drew on her face, and even set her on fire. She theorizes, “They were externalizing how they felt, and they felt different.” So when Gerwig offered McKinnon the role of Weird Barbie, a doll that’s been played with a little too aggressively in the real world, she jumped at the chance. McKinnon was impressed by the way the script dealt with girls’ complicated attachments to the doll. “It comments honestly about the positive and negative feelings,” she says. “It’s an incisive cultural critique.”

“We’re looking to create movies that become cultural events,” Kreiz says, and to do that Mattel needs visionaries to produce something more intriguing than a toy ad. “If you can excite filmmakers like Greta and Noah to embrace the opportunity and have creative freedom, you can have a real impact.”

At the end of January — I want to say January 26th — I had another call with Reddit prior to all this where they were saying, “We have no plans to change the API, at least in 2023, maybe for years to come after that. And if we do, it’ll be improvements.” So then two months, three months later, for them to say, “Look, actually, scratch that, we’re planning to completely charge for the API, and it’s gonna be very expensive,” kind of made me think… what happened in those three months? This clearly wasn’t something that was cooking for a long time. And I don’t think they understood how much this would affect people and the response that they would get.

I think as time went on, things like only giving us 30 days to make these monstrous changes, I think it started to muddy the waters. It’s like, well, if you don’t want us to die, why are you giving us such aggressive timelines? And why can’t you bump things out? Or listen to us? Why are you acting in this way?

I think to a certain extent, after some of the blowback from initial posts from developers being like, “This is gonna cost us a lot of money,” they almost went on the defensive internally and said, “These developers are entitled, and they just want a free lunch or something.” And I feel like it got very personal when it didn’t really need to. It was just like, this is gonna kill my business — can we have a path forward?

numerous sources say they cannot discern what kind of material Salke and head of television Vernon Sanders want to make. A showrunner with ample experience at the studio says, “There’s no vision for what an Amazon Prime show is. You can’t say, ‘They stand for this kind of storytelling.’ It’s completely random what they make and how they make it.” Another showrunner with multiple series at Amazon finds it baffling that the streamer hasn’t had more success: Amazon has “more money than God,” this person says. “If they wanted to produce unbelievable television, they certainly have the resources to do it.”

To write about something hard to explain, write a detailed letter to a friend about why it is so hard to explain, and then remove the initial “Dear Friend” part and you’ll have a great first draft.

To be interesting just tell your story with uncommon honesty.

Most articles and stories are improved significantly if you delete the first page of the manuscript draft. Immediately start with the action.

Each technology can not stand alone. It takes a saw to make a hammer and it takes a hammer to make a saw. And it takes both tools to make a computer, and in today’s factory it takes a computer to make saws and hammers. This co-dependency creates an ecosystem of highly interdependent technologies that support each other

On the other hand, I see this technium as an extension of the same self-organizing system responsible for the evolution of life on this planet. The technium is evolution accelerated. A lot of the same dynamics that propel evolution are also at work in the technium

Our technologies are ultimately not contrary to life, but are in fact an extension of life, enabling it to develop yet more options and possibilities at a faster rate. Increasing options and possibilities is also known as progress, so in the end, what the technium brings us humans is progress.

Libraries, journals, communication networks, and the accumulation of other technologies help create the next idea, beyond the efforts of a single individual

We also see near-identical parallel inventions of tricky contraptions like slingshots and blowguns. However, because it was so ancient, we don’t have a lot of data for this behavior. What we would really like is to have a N=100 study of hundreds of other technological civilizations in our galaxy. From that analysis we’d be able to measure, outline, and predict the development of technologies. That is a key reason to seek extraterrestrial life.

When information is processed in a computer, it is being ceaselessly replicated and re-copied while it computes. Information wants to be copied. Therefore, when certain people get upset about the ubiquitous copying happening in the technium, their misguided impulse is to stop the copies. They want to stamp out rampant copying in the name of "copy protection,” whether it be music, science journals, or art for AI training. But the emergent behavior of the technium is to copy promiscuously. To ban, outlaw, or impede the superconductivity of copies is to work against the grain of the system.

the worry of some environmentalists is that technology can only contribute more to the problem and none to the solution. They believe that tech is incapable of being green because it is the source of relentless consumerism at the expense of diminishing nature, and that our technological civilization requires endless growth to keep the system going. I disagree.

Over time evolution arranges the same number of atoms in more complex patterns to yield more complex organisms, for instance producing an agile lemur the same size and weight as a jelly fish. We seek the same shift in the technium. Standard economic growth aims to get consumers to drink more wine. Type 2 growth aims to get them to not drink more wine, but better wine.

to measure (and thus increase) productivity we count up the number of refrigerators manufactured and sold each year. More is generally better. But this counting tends to overlook the fact that refrigerators have gotten better over time. In addition to making cold, they now dispense ice cubes, or self-defrost, and use less energy. And they may cost less in real dollars. This betterment is truly real value, but is not accounted for in the “more” column

it is imperative that we figure out how to shift more of our type 1 growth to type 2 growth, because we won’t be able to keep expanding the usual “more.”  We will have to perfect a system that can keep improving and getting better with fewer customers each year, smaller markets and audiences, and fewer workers. That is a huge shift from the past few centuries where every year there has been more of everything.

“degrowthers” are correct in that there are limits to bulk growth — and running out of humans may be one of them. But they don’t seem to understand that evolutionary growth, which includes the expansion of intangibles such as freedom, wisdom, and complexity, doesn’t have similar limits. We can always figure out a way to improve things, even without using more stuff — especially without using more stuff!

the technium is not inherently contrary to nature; it is inherently derived from evolution and thus inherently capable of being compatible with nature. We can choose to create versions of the technium that are aligned with the natural world.

Social media can transmit false information at great range at great speed. But compared to what? Social media's influence on elections from transmitting false information was far less than the influence of the existing medias of cable news and talk radio, where false information was rampant. Did anyone seriously suggest we should regulate what cable news hosts or call in radio listeners could say? Bullying middle schoolers on social media? Compared to what? Does it even register when compared to the bullying done in school hallways? Radicalization on YouTube? Compared to talk radio? To googling?

Kids are inherently obsessive about new things, and can become deeply infatuated with stuff that they outgrow and abandon a few years later. So the fact they may be infatuated with social media right now should not in itself be alarming. Yes, we should indeed understand how it affects children and how to enhance its benefits, but it is dangerous to construct national policies for a technology based on the behavior of children using it.

Since it is the same technology, inspecting how it is used in other parts of the world would help us isolate what is being caused by the technology and what is being caused by the peculiar culture of the US.

You don’t notice what difference you make because of the platform's humongous billions-scale. In aggregate your choices make a difference which direction it — or any technology — goes. People prefer to watch things on demand, so little by little, we have steered the technology to let us binge watch. Streaming happened without much regulation or even enthusiasm of the media companies. Street usage is the fastest and most direct way to steer tech.

Vibrators instead of the cacophony of ringing bells on cell phones is one example of a marketplace technological solution

The long-term effects of AI will affect our society to a greater degree than electricity and fire, but its full effects will take centuries to play out. That means that we’ll be arguing, discussing, and wrangling with the changes brought about by AI for the next 10 decades. Because AI operates so close to our own inner self and identity, we are headed into a century-long identity crisis.

What we tend to call AI, will not be considered AI years from now

What we are discovering is that many of the cognitive tasks we have been doing as humans are dumber than they seem. Playing chess was more mechanical than we thought. Playing the game Go is more mechanical than we thought. Painting a picture and being creative was more mechanical than we thought. And even writing a paragraph with words turns out to be more mechanical than we thought

out of the perhaps dozen of cognitive modes operating in our minds, we have managed to synthesize two of them: perception and pattern matching. Everything we’ve seen so far in AI is because we can produce those two modes. We have not made any real progress in synthesizing symbolic logic and deductive reasoning and other modes of thinking

we are slowly realizing we still have NO IDEA how our own intelligences really work, or even what intelligence is. A major byproduct of AI is that it will tell us more about our minds than centuries of psychology and neuroscience have

There is no monolithic AI. Instead there will be thousands of species of AIs, each engineered to optimize different ways of thinking, doing different jobs

Now from the get-go we assume there will be significant costs and harms of anything new, which was not the norm in my parent's generation

The astronomical volume of money and greed flowing through this frontier overwhelmed and disguised whatever value it may have had

The sweet elegance of blockchain enables decentralization, which is a perpetually powerful force. This tech just has to be matched up to the tasks — currently not visible — where it is worth paying the huge cost that decentralization entails. That is a big ask, but taking the long-view, this moment may not be a failure

My generic career advice for young people is that if at all possible, you should aim to work on something that no one has a word for. Spend your energies where we don’t have a name for what you are doing, where it takes a while to explain to your mother what it is you do. When you are ahead of language, that means you are in a spot where it is more likely you are working on things that only you can do. It also means you won’t have much competition.

Your 20s are the perfect time to do a few things that are unusual, weird, bold, risky, unexplainable, crazy, unprofitable, and looks nothing like “success.” The less this time looks like success, the better it will be as a foundation

I’m not a fan of modern fandom. This isn’t only because I’ve been swarmed on Twitter by angry devotees of Marvel and DC and (more recently) “Top Gun: Maverick” and “Everything Everywhere All at Once.” It’s more that the behavior of these social media hordes represents an anti-democratic, anti-intellectual mind-set that is harmful to the cause of art and antithetical to the spirit of movies. Fan culture is rooted in conformity, obedience, group identity and mob behavior, and its rise mirrors and models the spread of intolerant, authoritarian, aggressive tendencies in our politics and our communal life.

I will always love being at the movies: the tense anticipation in a darkening theater, the rapt attention and gasping surprise as a the story unfolds, and the tingly silence that follows the final shot, right before the cheers — and the arguments — start.

point systems often don’t measure what we want to measure. They artificially simplify or distort our values. Our goals are messy. They’re strange and complex and multifaceted, but then they are collapsed down to scoring systems. And the thing that can happen here is we lose sight of what we wanted and we begin to want what the point system wants

We are being changed by point systems and structures that we’re not taught to see, that often have incentives and logics that are hidden from us

when you quantify in an institution— and I want to stress here, this is not about quantification in any circumstance, right— this is about quantification in bureaucracies and institutions— what you do is you kind of take really context-sensitive nuanced information that requires a lot of background to understand and then you carve out all of the subtle nuance and all the weird little information that needs a lot of shared context to understand.

So in order to make that information travel well, I need to create this neat little informational packet where I strip off all of the weird context-sensitive stuff and just create something simple. In this case, I rank each student inside a pre-established spectrum— F to A. And that information, right, is totally comprehensible to anyone. It aggregates easily. Everyone collects it in the same way. It’s been standardized. It mounts up.So if you have large-scale bureaucracies that need to be organized and function coherently, then you need these kind of simple, nuance-free packets of information. And I think that’s one of the reasons we’ve seen this constant rise of simplified metrical analysis.

He says, large-scale states can only see the kinds of information they can process. And the kinds of information they can process are things like this— standardized, quantified information.So he thinks that only the parts of the world that are legible to the state, that are put in the terms a state can understand, that’s the only kind of thing the state can process, act on, and see. And so the state wants to transform the world into the kinds of things it can work on. The state can’t see my individual feedback about my students, about you know, what they need for their emotional arc. It can see the letter grade average of the university.

If our taste and our values and our interests are varying and wide, and plural and rich, the state can’t see that. The state can’t get a handle on my bizarre taste in the tabletop role-playing games.

one thing I like about analytics is that outside of the context of simply argue about the flaws of analytics, not having them allows you to bullshit yourself a lot. Allows you to bullshit yourself about whether or not people are reading you, what you’re really doing here, are you serving an audience. But then having them allows you to stop seeing anything they can’t measure.

Fitbit can capture steps but it can’t capture your joy and ecstasy and physical emotion. If I exercise and I don’t use any objective measures, then I could just be fooling myself. But if I become obsessed with objective measures, then I’m not going to exercise for any of the things that fall outside those objective measures, like the aesthetic joy of movement.

you can track anything. But at some point, the tracking becomes the point.

People who write about games as an art form, as something special, really get super excited by two kinds of games. One are games like Romero’s game “Train,” because it’s so obviously meaningful and ethically potent. And they get really excited about games that tell stories in ways that are familiar to us from movies and novels.

I’m actually a little worried that this kind of focus loses for us something that’s really special about games. It pushes us towards the kind of games that are familiar to us. Those of us that care about art and have read about the theory of fiction or the— that kind of thing we can recognize. Things like the beauty of a really good puzzle game, or the beauty of rock climbing, or the beauty of chess— those are more alien and that’s the thing that I want to understand.

every art form is a crystallization of some common sense experience. That the visual arts are the crystallization of seeing. That music is a crystallization of hearing. And you argue that games are the crystallization of doing.

when you’re playing a game, you’re trying to get some end state. Like if you’re running a marathon, you’re trying to get to a particular point in space. But we don’t actually care about being at that point in space in and of itself, or we would take the easy way. We would take a lift, take an Uber, take a shortcut.

what makes games special is not just that they create a world or an environment, but that the game designer tells you what abilities you have and what obstacles you’ll face, but most importantly, what goals you’ll have. So the punchline in the book is that games are the art form that works in the medium of agency itself.

What the game designer is doing is creating an alternate self for you, an alternate agent, describing the skeleton of that agent, saying here are the abilities you have, here’s what you’re going to care about.

In the same way that I think we understand some of the art forms as making our senses more acute and our perception of the world more sensitive, games can do that for the way we see the goals and means we adopt in the course of a day.

The thing that was in philosophy that was so delightful and pleasurable quickly and now I have to struggle for four years to get another interesting epiphany. “Baba Is You” is just like epiphany after epiphany after epiphany. You play it for 20 minutes. You solve a level. You had another epiphany. It takes that pleasure and it extracts it and concentrates it.

In the world, our goals and our abilities and the world— a lot of the times they don’t align. You do what you want. And to get what you want, you have to do something incredibly boring and repetitive. Or you face problems that are way beyond you.But in games, because the game designer manipulates what you want to do and the abilities and the obstacles, the game designer can create harmonious action. They can create these possibilities where you’re— what you need to do— the obstacles you face and your abilities just match perfectly. So this is the weird sense in which I feel like games are like an existential balm for the horror of life. A lot of life is you don’t fit. You have to do things. And it sucks and it’s horrible and it’s boring.And in games, for once in your life, you know exactly what you’re doing and you know exactly that you can do it. And then you have just the right amount of ability to do it. It’s a feeling of concentrated, crystallized action. For me, solving puzzles, or balancing over in a rock climb, or seeing a trap ahead in chess, this is ecstasy. And it’s an ecstasy I get once in a while in my non-game life. But game designers have sculpted these little action universes so that we can step into them and just have this ecstasy over and over again.

they are taking what reality is, which is we are constantly opting into these different systems with incentives, and structures, and our skills, and they have to match the means to get to a goal, and distilling that down to a small core.

I think the most important thing about games is the way they manipulate our agency. The way we enter into this alternate self. And that’s I think where you can see the greatest power of games and their greatest danger. The greatest power of games is that you can explore this landscape of different agencies. The greatest danger of games is that you can get sucked into this experience of just craving and wanting to be in a clear, crisp and gentle universe where you know exactly what to do and exactly how well it’s measured.

So when you play chess, you get really sucked into this kind of agency where you are thinking ahead and calculating linearly. When you play diplomacy, you get sucked into this agency where you’re constantly thinking about how you can lie to people and misrepresent yourself. And when you play rock climbing, you get sucked into an agency where all your powers are about balance and fine precision and motion.

the body of games is a kind of library of agencies. The real promise of games, if you take them seriously, is that by playing a ton of them, you can traverse all the different possibilities of agency

The

The biggest danger that I’m worried about for games is if you spend your life playing games, you’ll expect that value systems will be crisp, clear, well-defined, and quantified. And then you leave games, you’ll start looking around for— I don’t know— things to do, or institutions to be a part of, or jobs to do where the outcomes are clear, crystallized, quantified, and shared between people. I’m worried about getting stuck in the world of maximizing your clicks or Wall Street finance just because you have an expectation that what it is to act in the world is to act for clear externally well-defined points.

What might be true is if you spend all your time in point-scoring environments, you will become used to life being about scoring points. And you will begin to adopt that approach and begin to adopt those values without even realizing it. You’ll become habituated. The game will change you. That is a second principle I want to put out here— that games change us.

“Twitter shapes our goals for discourse by making conversation something like a game. Twitter scores our conversation. And it does so not in terms of our own particular and rich purposes for communication, but in terms of its own preloaded, painfully-thin metrics— likes, retweets, and follower counts. And if we take up Twitter’s invitation and internalize those evaluations, we’ll be thinning out and simplifying our own goals for communication.”

you can care about all kinds of things going on on Twitter. You can care about having fun. You can care about connecting with a few people. You can care about getting knowledge. You can care about getting understanding. You can care about connecting.But those things aren’t measured by Twitter. What Twitter measures is who clicked like, who clicked retweet, who clicked follow. And what you might think is, oh, because people click like, then that’s just a good proxy for all these other values. They’re only going click like if you actually successfully communicated something. But clicking like is a really narrow information capture.

So I think if you look at what a lot of people in politics and media think they’re doing on Twitter, they are writing things that on their face are meant to be persuasive. A gloss on a news article. A tweet about democracy, or single payer health care, or how Joe Biden is bad, or whatever it might be. But that tweet is then attached to a scoring system that has nothing to do with whether or not you are persuasive to the people you need to convince. It’s whether or not that tweet is applauded by the people who already like you.

These little worlds where every mechanism is something you can internalize, and you can make a plan that encompasses every single mechanism the game has and it all fits.

When you read people who are excited about a conspiracy theory— like the flat earth conspiracy theory— one of the things they say over and over again is they felt so disempowered before the conspiracy theory. And once they became a flat-earther, or something like this, they felt empowered. And the reason, I think, is the conspiracy theories fit inside your head. They’re the right size for you just like games are the right size for you to take some kind of action.

If you believe in a conspiracy theory, now you have total intellectual agency. You don’t have to trust other people. You don’t have to do this awkward weird thing of trusting somebody and trusting who they trust and then trusting all the million things— people they trust. You can think everything through yourself and then come to a conclusion using this engine that’s so powerful that lets you explain anything.

Games are exciting when they test us and they put us right at the limit of our abilities. And then we push through and then we can make it. The games are beautiful when our whole practical self fits the challenge.

So if you expect someone to make a game out of intellectual life, you shouldn’t expect them to make something so complicated that you have to do this horrible trusting thing. And you shouldn’t expect them to make it easy. You should expect them to make it so challenging that it really fully engages people. But it’s just the right size, so if they fight hard, they can actually find explanation for everything.

one of the difficult things about being alive during, as you put it, the great endarkenment, is we are all choosing which explanations to believe, built to some degree on structures of social trust, not a first person verification. We can’t verify a lot of what we believe we know about the world.

how do you develop a sensitivity— not a cynicism and maybe not even always a skepticism, but just first a sensitivity to being able to see all the different game-like scored, simplifying systems that you’ve adopted and all of the values they are pushing you towards? How do you develop game mindfulness?

I’m trying to develop the same kind of instinct in belief systems. Someone hands you a belief system and you’re like, oh, this feels so good. That’s— and then you have to pause and be like, wait, is this designed just to make me feel good? So the short answer is I’m now suspicious of pleasure, which I hate.

thinking about games shows me two possibilities that are like two flip sides of the same coin. And the richness of games is when temporary hyper-focus on a goal opens up all this rich, sculpted, interesting activity, all these amazing movements, or decisions, or calculations that are just lovely. That’s the promise of games.AdvertisementContinue reading the main storyAnd the danger of games and the game-like attitude is when we hyper-focus on that goal and we forget about all the other stuff that could happen along the way. And we just narrowly see the goal. And like, games for me are good when you engage in a duality of experience of them. You spend some time buried and trying to win, but you realize that winning isn’t the point. And then you step back and you see, oh my god, the process of doing it was so rich and so lovely.And games are toxic for me when we just get hyper-narrowed on the point system and we never think about the larger outcome of the point system. We never think about what our life is like or what the activity is like under that point system. We never think about what follows from it. The big worry with the impact of highly gamified external systems is it encourages us not to step into a game and step back from it and think about the richness of the activity and whether it was worth it. What I’m worried about is those cases when the point system blocks out everything else from your universe and you don’t see any of the other stuff.