But memes also have a serious side, according to researchers looking at modern forms of communication. They are a language in themselves, with a capacity to transcend cultures and construct collective identities between people. These sharable visual jokes can also be powerful tools for self-expression, connection, social influence and even political subversion. Internet memes "are one of the clearest manifestations of the fact there is such a thing as digital culture", says Paolo Gerbaudo, a reader in digital politics and director of the Centre for Digital Culture at Kings College London. Gerbaudo describes memes as a "sort of a ready-made language with many kinds of stereotypes, symbols, situations. A palette that people can use, much like emojis, in a way, to convey a certain content".

"We see the replication of mundane reality in many forms of art," says Idil Galip, a doctoral researcher at the University of Edinburgh, and founder of the Meme Studies Research Network. "Even going back to, let's say, Hellenic times, you've got something like tragic theatre, that takes things that happen to you that are upsetting and real-life and makes them into comedic things, which is what memes do." With the arrival of the internet, however, memes have become a more tangible phenomenon that can be observed as they grow, spread and mutate. "In a way, it's like internet users paving the way for academics to look at memes more scientifically," says Limor Shifman, a professor of communication at the Hebrew University of Jerusalem. Researchers at Facebook showed in a study in 2014 just how widely memes posted on the social media site can spread and evolve. In one example, they found 121,605 different variants of one particular meme posted across 1.14 million status updates.

Shifman's definition of memes, now widely used in the field, describes them as "a group of texts with shared characteristics, with a shared core of content, form, and stance". Broadly, "content" refers to ideas and ideologies, while "form" to our sensory experiences such as audio or visual, and "stance" to the tone or style, structures for participation, and communicative functions of the meme.

Memes tap into collective consciousness online and have been referred to as digital folklore – or "Netlore". "We can see not just the new ways people do things or the new ways people express themselves in public but also some of the themes, some of the anxieties or desires people have. All of these complex issues are reflected in things like memes," says Gerbaudo.  But for an idea to become a meme, it needs to be shared. Most successful internet memes – in that they spread wide and far – share a few key attributes. "Usually the most viral, most loved memes are memes that are about things that are very recent in public memory," says Galip. But often they are also "something that was important to many people", she says. "Viral memes usually appeal to the most common denominator. So you don't have to necessarily be embedded in internet subculture to understand what it's saying. And the final thing I think is, it's the most basic thing but it's very hard to replicate, is that it should be fun to look at, and fun to share."

Memes also have an uncanny way of capturing a feeling, experience, or state of mind which resonates with people, depending on the "niche-ness" of the meme. One small recent study found that people with depression rated depression-related memes as more humorous, relatable and shareable. The researchers suggest memes elegantly portray the experience of depression which some may find hard to vocalise. And because they are highly relatable among people with depression, they could offer the perception of social support and emotional connection. The findings echo those in other studies that have suggested internet memes can contribute to the formation of a collective identity among marginalised groups such as the LGBTQ+ community or among disparate networks of people, such as those who have been conceived with donated sperm or eggs.

"Niche memes are not meant to go viral," says Galip. "They're meant usually to create things like in-group belonging, something that kind of strengthens a sense of identity."

One perspective put forward by Joshua Nieubuurt, who studies misinformation and disinformation at the University of Maryland in the US and the University of Okinawa in Japan, is that memes can be regarded as a modern digital equivalent of the propaganda leaflet. He points to the way memes have been used to support or undermine arguments for Covid-19 restrictions and vaccinations, using humour and sarcasm to delegitimise the stances of people on either side of the debate.

Online, memes are important facilitators of communication, belonging, and digital activism, that can both unite and divide us, depending on who we are and how we participate with them.

"This format of communication is here to stay because it's a very stable way of expressing your individuality and your communality," says Shifman. Gerbaudo notes that memes are already evolving – branching out more into video sharing. "TikTok videos are memetic in character," he says. "They respond to challenges, which have a certain format, where people need to kind of play with a given, pre-established set of interactions."

These creative reimaginings of blogs have quietly taken nerdier corners of the internet by storm. A growing movement of people are tooling with back-end code to create sites that are more collage-like and artsy, in the vein of Myspace and Tumblr—less predictable and formatted than Facebook and Twitter.

Through them, people are creating an internet that is less about connections and feedback, and more about quiet spaces they can call their own.

In fact, the whole point of digital gardens is that they can grow and change, and that various pages on the same topic can coexist. “It’s less about iterative learning and more about public learning,” says Maggie Appleton, a designer. Appleton’s digital garden, for example, includes thoughts on plant-based meat, book reviews, and digressions on Javascript and magical capitalism. It is “an open collection of notes, resources, sketches, and explorations I’m currently cultivating,” its introduction declares. “Some notes are Seedlings, some are budding, and some are fully grown Evergreen[s].”

Rather than presenting a set of polished articles, displayed in reverse chronological order, these sites act more like free form, work-in-progress wikis. A garden is a collection of evolving ideas that aren't strictly organised by their publication date. They're inherently exploratory – notes are linked through contextual associations. They aren't refined or complete - notes are published as half-finished thoughts that will grow and evolve over time. They're less rigid, less performative, and less perfect than the personal websites we're used to seeing.

It harkens back to the early days of the web when people had fewer notions of how websites "should be.” It's an ethos that is both classically old and newly imagined.

digital gardening is not about specific tools – it's not a Wordpress plugin, Gastby theme, or Jekyll template. It's a different way of thinking about our online behaviour around information - one that accumulates personal knowledge over time in an explorable space.

Gardens present information in a richly linked landscape that grows slowly over time. Everything is arranged and connected in ways that allow you to explore. Think about the way Wikipedia works when you're hopping from Bolshevism to Celestial Mechanics to Dunbar's Number. It's hyperlinking at it's best. You get to actively choose which curiosity trail to follow, rather than defaulting to the algorithmically-filtered ephemeral stream. The garden helps us move away from time-bound streams and into contextual knowledge spaces.

Joel focused on the process of digital gardening, emphasising the slow growth of ideas through writing, rewriting, editing, and revising thoughts in public. Instead of slapping Fully Formed Opinions up on the web and never changing them.

However, many of these no-code tools still feel like cookie-cutter solutions. Rather than allowing people to design the information architecture and spatial layouts of their gardens, they inevitably force people into pre-made arrangements. This doesn't meant they don't "count,” as "real” gardens, but simply that they limit their gardeners to some extent. You can't design different types of links, novel features, experimental layouts, or custom architecture. They're pre-fab houses instead of raw building materials.

Gardens are organised around contextual relationships and associative links; the concepts and themes within each note determine how it's connected to others. This runs counter to the time-based structure of traditional blogs: posts presented in reverse chronological order based on publication date. Gardens don't consider publication dates the most important detail of a piece of writing. Dates might be included on posts, but they aren't the structural basis of how you navigate around the garden. Posts are connected to other by posts through related themes, topics, and shared context.

Gardens are never finished, they're constantly growing, evolving, and changing. Just like a real soil, carrot, and cabbage garden. The isn't how we usually think about writing on the web. Over the last decade, we've moved away from casual live journal entries and formalised our writing into articles and essays. These are carefully crafted, edited, revised, and published with a timestamp. When it's done, it's done. We act like tiny magazines, sending our writing off to the printer. This is odd considering editability is one of the main selling points of the web. Gardens lean into this – there is no "final version” on a garden. What you publish is always open to revision and expansion.

You're freed from the pressure to get everything right immediately. You can test ideas, get feedback, and revise your opinions like a good internet citizen. It's low friction. Gardening your thoughts becomes a daily ritual that only takes a small amount of effort. Over time, big things grow. It gives readers an insight into your writing and thinking process. They come to realise you are not a magical idea machine banging out perfectly formed thoughts, but instead an equally mediocre human doing The Work of trying to understand the world and make sense of it alongside you.

Gardens are imperfect by design. They don't hide their rough edges or claim to be a permanent source of truth. Putting anything imperfect and half-written on an "official website” may feel strange. We seem to reserve all our imperfect declarations and poorly-worded announcements for platforms that other people own and control. We have all been trained to behave like tiny, performative corporations when it comes to presenting ourselves in digital space. Blogging evolved in the Premium Mediocre culture of Millenialism as a way to Promote Your Personal Brand™ and market your SEO-optimized Content. Weird, quirky personal blogs of the early 2000's turned into cleanly crafted brands with publishing strategies and media campaigns. Everyone now has a modern minimalist logo and an LLC. Digital gardening is the Domestic Cozy response to the professional personal blog; it's both intimate and public, weird and welcoming. It's less performative than a blog, but more intentional and thoughtful than a Twitter feed. It wants to build personal knowledge over time, rather than engage in banter and quippy conversations.

If you give it a bit of forethought, you can build your garden in a way that makes it easy to transfer and adapt. Platforms and technologies will inevitably change. Using old-school, reliable, and widely used web native formats like HTML/CSS is a safe bet. Backing up your notes as flat markdown files won't hurt either.

Creative research is all about collecting the dots. It’s more common to think of “connecting the dots” but the truth is that you can’t connect the dots you can’t see. And we can only hold a tiny number of things in our brains at once. So a space for collecting (and organizing) the dots is a crucial foundation for thinking, creativity and more:

collect raw material, then think about it. From this process comes pattern recognition and eventually the insights that form the basis of novel ideas.

“You can re-sign your lease, but I have to raise it by $250 a month because I realized there was a bigger number your rent could be,” Turley informed his tenant of six years, attributing the rent increase to a need to keep up with the rising numbers he could envision. “Look, you’re a good tenant and all, but I thought of a bigger number and that puts me in a bind. Did you know that $2,850 is larger than $2,600? Most tenants don’t concern themselves with things like that, but as a landlord, I always have to be adjusting my leasing requirements to match the larger amounts that happen to come to mind.”

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.

Even Obsidian’s most dedicated users don’t expect it to take on Notion and other note-taking juggernauts. They see Obsidian as having a different audience with different values.

Obsidian is on some ways the opposite of a quintessential MacStories app—the site often spotlights apps that are tailored exclusively for Apple platforms, whereas Obsidian is built on a web-based technology called Electron—but Voorhees says it’s his favorite writing tool regardless.

The criticisms I have been seeing about the features of the Pixel 8, however, feel like we are only repeating the kinds of fears of nearly two hundred years. We have not been able to wholly trust photographs pretty much since they were invented. The only things which have changed in that time are the ease with which the manipulations can happen, and their availability.

We all live with a growing sense that everything around us is fraudulent. It is striking to me how these tools have been introduced as confidence in institutions has declined. It feels like a death spiral of trust — not only are we expected to separate facts from their potentially misleading context, we increasingly feel doubtful that any experts are able to help us, yet we keep inventing new ways to distort reality.

The questions that are being asked of the Pixel 8’s image manipulation capabilities are good and necessary because there are real ethical implications. But I think they need to be more fully contextualized. There is a long trail of exactly the same concerns and, to avoid repeating ourselves yet again, we should be asking these questions with that history in mind. This era feels different. I think we should be asking more precisely why that is.

The questions we ask about generative technologies should acknowledge that we already have plenty of ways to lie, and that lots of the information we see is suspect. That does not mean we should not believe anything, but it does mean we ought to be asking questions about what is changed when tools like these become more widespread and easier to use.

Last year I burnt myself out on introspection and developed a personal philosophy to “take action towards things I think I want until I can come up with a good reason to stop.” Operating in this way might make me look flighty from the outside but on the inside, I know it’s one of the main reasons my life continues to feel like it’s getting better and better — experimentation till I find the things that feel really right.And really right is what I’m going for. Not right on paper, not right only if I turn off my brain, and definitely not right only in the eyes of others. In my book, a good decision is one you know in your heart, mind, and body to be true for you. Some call this discernment, others call it wisdom. All I know is that it’s really hard to find.

Now, uncertainty is a fact of life — one of the few universal rules to this grand, intricate game we’re all playing. As I understand it, the game goes as such: First, conquer your fear of rejection. Second, conquer your fear of uncertainty. Along the way, you’ll need to reckon with your fear of cringe.

But you know what helps? Actually listening to yourself. Not just the insecure parts of you that have something to prove and find it fun to root around for meaning in the struggle. No. It’s the voices that care about your experiencing day-to-day contentedness, belonging, and don’t believe that everything should feel hard that deserve the megaphone — they often sound quite similar to a best friend or parent.

being loved completely actually does the opposite — it motivates me to become more concentratedly myself by providing the comfort of verified belief in my own value. I mention the love thing because I think it has a lot more to do with what makes a decision good than we like to admit (maybe because it’s cringe!). But as Julie Dempsey says in Before Sunrise: “Isn't everything we do in life a way to be loved a little more?”

Artists never complete a single, perfect artwork, and a single work never instigates an absolute transcendence in viewers. We may aspire toward this quasi-theological ideal, but art only has the ability to suggest the sublime. The real sustenance of the artistic is the scope of experience it provides, the cumulative sense of growth and cultivation of ourselves through art, a tendency toward a good that we can never capture but only assist in radiating itself and existence.

I quickly realized that my habits were more suited to going to galleries every week than to working regularly on longer pieces, that there weren’t very many shows I wanted to write about at length, and that a regular stream of blithe, off-the-cuff reviews would attract more attention than intermittent longer essays

Film, music, food and book critics write for a general public that can be swayed to spend their money one way or another, whereas the general public cannot afford to buy the art that is written about in Artforum.

We still believe that there will be a separation between the “application layer” companies and foundation model providers, with model companies specializing in scale and research and application layer companies specializing in product and UI. In reality, that separation hasn’t cleanly happened yet. In fact, the most successful user-facing applications out of the gate have been vertically integrated.

We predicted that the best generative AI companies could generate a sustainable competitive advantage through a data flywheel: more usage → more data → better model → more usage. While this is still somewhat true, especially in domains with very specialized and hard-to-get data, the “data moats” are on shaky ground: the data that application companies generate does not create an insurmountable moat, and the next generations of foundation models may very well obliterate any data moats that startups generate. Rather, workflows and user networks seem to be creating more durable sources of competitive advantage.

Some of the best consumer companies have 60-65% DAU/MAU; WhatsApp’s is 85%. By contrast, generative AI apps have a median of 14% (with the notable exception of Character and the “AI companionship” category). This means that users are not finding enough value in Generative AI products to use them every day yet.

generative AI’s biggest problem is not finding use cases or demand or distribution, it is proving value. As our colleague David Cahn writes, “the $200B question is: What are you going to use all this infrastructure to do? How is it going to change people’s lives?”

Indeed, the rise of hyperindividualism has fragmented our connections, scattering our relationships across the country. Even today’s modern self-care trends turn us inward, convincing us to “hyperfocus on ourselves at the expense of connecting with others.” And the numbers don’t lie: Americans are spending more and more time alone and less and less time with their friends.

There are four signs your idea has legs:People pay you money: Several people start to pay for your product, ideally people you don’t have a direct connection toContinued usage: People continue to use your prototype product, even if it’s hackyStrong emotion: You’re hearing hatred for the incumbents (i.e. pain) or a deep and strong emotional reaction to your idea (i.e. pull)Cold inbound interest: You’re seeing cold inbound interest in your product

Every prosumer collaboration product, including Figma, Notion, Coda, Airtable, Miro, and Slack, spent three to four years wandering in the dark until they stumbled on something that clicked.

Your mind should be flexible, but your process should be repeatable. Style is a set of constraints that you stick to. You can explore many types of constraints: colors, shapes, materials, textures, fonts, language, clothing, decor, beliefs, flavors, sounds, scents, rituals. Your style doesn’t have to please anyone else. Play by your own rules. Everything you do is open to stylistic interpretation.

Collect constraints you enjoy. Unusual constraints make things more fun. You can always change them later. This is your style, after all. It’s not a life commitment, it’s just the way you do things. For now.

Having a style collapses hundreds of future decisions into one, and gives you focus. I always pluralize tags so I never have to wonder what to name new tags. Style gives you leverage. Every time you reuse your style you save time. A durable style is a great investment.

if you want to edit your constraints, you can. It will be easier to adopt the new constraints if you already had some clearly defined. You don’t need a style for everything. Make a deliberate choice about what needs consistency and what doesn’t. If you stick with your constraints long enough, your style becomes a cohesive and recognizable point of view.

Much of the mockery towards Che came from the queer community, who were pretty easily able to see the difference between an authentic representation of a queer character, and a kind of walking diversity checkbox designed to bring a style of woke chaos to a story.

AJLT has clearly been engaged in the criticism of SATC - the three main characters all get a black friend who is given almost equal time and importance. And Che not only answers criticism of lack of representation of sexuality on SATC, but cuts off future criticism of AJLT.

In one scene, Che is watching a focus group give feedback on the pilot of their sitcom. A young, clearly queer member speaks up about how much they hate the “character” of Che in the sitcom. They clearly represent the fan and critical response to Che Diax in AJLT season 1, and it’s fascinating to see what the show thinks these kinds of people are - ie a minorly updated blue haired woke stereotype.

In the show, this brings Che to tears, and through this scene, our criticism of Che is emotionally rebuked. We can see that the tears of Che Diaz are the tears of the writers, appalled at our meanness.

fans are always going to be motivated by different things to the writer. A fan, especially ones with the kind of parasocial relationship to shows and characters that are big these days, are always going to want the best for the character, to see their favourites thrive and find love and get the magic sword, etc. A writer doesn’t and shouldn’t care about any of that - a writer should only be writing the best story, creating the most fulfilling narrative arc. Sometimes, when it comes to crafting a narrative, pain and suffering is important for the character, goals need to be unreached, swords remain in the stone.

Introduced as Carrie’s “modern” podcast partner, and then later Miranda’s queer sexual awakening, Che was a non-binary standup comedian who unfortunately had a lot of functions to fulfil in the story. They were a kind of stand-in to represent exactly everything that had changed in sex and dating and gender and sexuality in the years since the original Sex and The City had gracefully left our screens.

They were a truly baffling character, a kind of frankenstein’s monster cobbled together from hazy ideas of gender and queer theory, mashed into one character to be a comedic foil for the older (and somewhat startlingly conservative at times) original characters - but also as a way to try and seriously engage with ideas of representation and diversity. You never knew if you were meant to laugh at Che, or at the other character’s moments of less-than-wokeness around Che - or take them seriously.

And Just Like That - a show that can only be described as watching Sex and the City through the aged filter on TikTok while suffering a potentially fatal fever - is the greatest show on television. By that I mean it’s so bad. God I love it. It’s just inexplicably confusing, a show defined by big swings that almost never hit, but that doesn’t matter, there’s a kind of deranged joy in that. It’s almost perfect. But it’s also so weird.There seems to be a happy chaos to the show, a willingness to just put forward insane new developments for these beloved characters, and just run with it.

the reason that Che Diaz felt so out of place, a sore thumb, is  because their entire arc in the latest season is responding to fan and critical discourse.

A lot of Americans are underinsured because of genuine hardship, and suffer more than their wealthier counterparts do from uncompensated losses. But lower-income people also suffer disproportionately if coverage isn’t available at all.

In California, insurance companies are prohibited from using statistical modeling to assess future fire risks when setting rates; premium increases must be based on insurers’ loss history, not on the growing likelihood of serious fires.

Jesse Keenan, a Tulane University urban-planning professor who studies climate change and the built environment, expresses some frustration with consumer advocates who view the rising cost of coverage as a “power play” by the industry. “It often is,” he told me. “But what [advocates] don’t acknowledge is the culpability of a lot of different actors—local governments that do not strengthen land and zoning use, state legislators who pass laws making it harder to place obligations on homeowners, and a federal government that writes big, unconditional checks. So there is a lot of blame to go around.”

Inboxes only let us Close open loops if they’re reliable—that is, if you can add something to it with total confidence that it’ll get “handled” in some reasonable timeframe. “Handled” is fuzzy: you just need to feel that the fate of those items roughly reflects your true preferences. You’ll trust an inbox system which ends up dropping 90% of items if the other 10% were the only ones you really cared about. You won’t trust an inbox system in which 90% of tasks get done, but the 10% which don’t get done are the ones you really cared about.In efficient inboxes, it may be easy to maintain this kind of confidence: the departure naturally rate exceeds the arrival rate. But most knowledge worker inboxes don’t look like this. The rates are highly variable, which creates bottlenecks. Not every item actually needs to get handled, but people are over-optimistic, so items accrue in a backlog.

First, and this is the default, they’re saying no because they just don’t like it. They have their own opinion of how this should be done and don’t want outsiders making them change it. Quite possibly they already considered your plan and decided against it. The new policy is probably awkward, annoying and inconvenient, and will cost money (even if it’s not explicitly aimed at profits). It’s a pain in the arse. However, it is also possible, and not actually a big deal, and in the end it won’t really damage the product or the company. They can do it - they just don’t like it.

In the end, it doesn’t actually matter much, and life goes on. ‘No’ just means ‘that’s annoying’.

Second, though, the tech industry (or the doctors, or the farmers) might be saying no because this really will have very serious negative consequences that you haven’t understood. My favourite example is California’s 2019 ‘AB5’ law. This aimed to classify ‘gig economy’ workers, especially (and deliberately) Uber drivers, as employees, with access to healthcare. This might or might not be a good policy objective (reasonable people can debate this), but the law itself was drafted so ineptly that it effectively made anyone who did any freelance work an employee, and hence in turn effectively banned freelance work. There followed a desperate scramble to exempt over 100 professions, from doctors to truck drivers to hairdressers, before the whole thing had to be abandoned.

the third kind is ‘we actually can’t do that’. The perennial example here, of course, is encryption. For the last 25 years, engineers have said ‘we can make it secure, or we can let law enforcement have access, but that means the Chinese can get in too” and politicians reply “no, make secure but not for people we like”.

My old boss Marc Andreessen, back when he was on the internet, liked to call this the ‘nerd harder’ argument. The engineer says not “I don’t want to” nor “that’s a bad idea” but “I genuinely have no idea how to do that even if I wanted to” and the policy-maker replies “you’re an engineer - work it out!” “Work it out” is generally a demand to invent new mathematics, but sadly, mathematics doesn’t work like that. Your MPs’ WhatsApp group can be secure, or it can readable by law enforcement and the Chinese, but you cannot have encryption that can be broken only by our spies and not their spies. Pick one.

The policy class that got their staff to print their emails will age out and be replaced by the generation that grew up sending emojis, and understands that tech policy is just as nuanced, complex and full of trade-offs as healthcare, transport or housing policy.

A person can’t mimic another voice perfectly (impressionists don’t have to pay licence fees) but they can listen to a thousand hours of music and make something in that style - a ‘pastiche’, we sometimes call it. If a person did that, they wouldn’t have to pay a fee to all those artists, so if we use a computer for that, do we need to pay them?

I think most people understand that if I post a link to a news story on my Facebook feed and tell my friends to read it, it’s absurd for the newspaper to demand payment for this. A newspaper, indeed, doesn’t pay a restaurant a percentage when it writes a review.

one way to think about this might be that AI makes practical at a massive scale things that were previously only possible on a small scale. This might be the difference between the police carrying wanted pictures in their pockets and the police putting face recognition cameras on every street corner - a difference in scale can be a difference in principle. What outcomes do we want? What do we want the law to be? What can it be?

OpenAI hasn’t ‘pirated’ your book or your story in the sense that we normally use that word, and it isn’t handing it out for free. Indeed, it doesn’t need that one novel in particular at all. In Tim O’Reilly’s great phrase, data isn’t oil; data is sand. It’s only valuable in the aggregate of billions,, and your novel or song or article is just one grain of dust in the Great Pyramid.

it’s supposed to be inferring ‘intelligence’ (a placeholder word) from seeing as much as possible of how people talk, as a proxy for how they think.

it doesn’t need your book or website in particular and doesn’t care what you in particular wrote about, but it does need ‘all’ the books and ‘all’ the websites. It would work if one company removed its content, but not if everyone did.

What if I use an engine trained on the last 50 years of music to make something that sounds entirely new and original? No-one should be under the delusion that this won’t happen.

I can buy the same camera as Cartier-Bresson, and I can press the button and make a picture without being able to draw or paint, but that’s not what makes the artist - photography is about where you point the camera, what image you see and which you choose. No-one claims a machine made the image.

Spotify already has huge numbers of ‘white noise’ tracks and similar, gaming the recommendation algorithm and getting the same payout per play as Taylor Swift or the Rolling Stones. If we really can make ‘music in the style of the last decade’s hits,’ how much of that will there be, and how will we wade through it? How will we find the good stuff, and how will we define that? Will we care?

“Wednesday night, we witnessed over two hours of fear-mongering and gaslighting, of cynicism and whataboutism, of canned talking points and memorized one-liners,” Hasan said. Despite the “pious-sounding, high-minded” tone struck by many candidates, their responses lacked substance and underscored their lack of seriousness in the race. “Forget a vision for America. These people have no vision for the Republican Party — a party that lost the House in 2018, lost the presidency and the Senate in 2020 and only narrowly regained the House in 2022,” he added. “It was another reminder that the Republican Party of the United States is not a normal center-right or conservative party… These are political pygmies, trailing a disgraced front-runner who is facing 91 criminal counts in four different jurisdictions.”

When I am in good hands I open myself to a state of curiosity and appreciation. I allow myself to suspend preconceived notions. I give you freedom to take me where you want to go. I immerse myself in your worldview and pause judgement.

That trust doesn’t come easily. As an audience member it’s about feeling cared for from the moment I interact with your work. It’s about feeling a well-defined point of view permeate what you make. If my mind was changed, I must have been in good hands.

I know I am in good hands when I sense a cohesive point of view expressed with attention to detail. I can feel it almost instantly. In any medium. Music, film, fashion, architecture, writing, software. At a Japanese restaurant it’s what omakase aims to be. I leave it up to you, chef.

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.