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Four Theories of Meta
Four Theories of Meta
Meta has gone after AI in the same way they went after the metaverse, by splashing money around and rushing to build products fast. They’re spending tens of billions building out data centers and related AI infrastructure. They’re tossing out incredible compensation packages in the hundreds of millions of dollars to top AI researchers.
Facebook is now the cultural symbol for useless slop and disinformation, while ‘that’s so Reels’ is now a common insult for terrible shortform video content - and you get the first theory of Meta. It’s a laughable company whose core business is increasingly uncool, a company in decline, a company that falls flat on its face any time it tries to change things up.
Call Meta uncool all you’d like, metrics are up across the board. They’re getting higher user engagement, higher user counts, and they’re selling more ads at a higher price-per-ad. The numbers are up in virtually every way on every platform - Facebook, Instagram, WhatsApp and even Threads.
They can afford to make huge bets on speculative new technologies because they have more money than they know how to spend. Why not spend all that money on the metaverse or on AI? What else are they going to do with it? Zuckerberg still controls the company and he’d prefer to invest in new technology rather than just pay himself fat dividends. This is the second theory of Meta - a unbelievably successful company whose core business is booming and who spends a lot of money on speculative investments simply because they can.
·infinitescroll.us·
Four Theories of Meta
Liquid Glass. Why? • furbo.org
Liquid Glass. Why? • furbo.org
It’s like when safe area insets appeared in iOS 11: it wasn’t clear why you needed them until the iPhone X came along with a notch and a home indicator. And then it changed everything.
There has also been an emphasis on “concentricity”. It’s an impossible thing to achieve and an easy target for ridicule. But it’s another case where Apple wants to take control of the UI elements that intersect with the physical hardware. All of this makes me think that Apple is close to introducing devices where the screen disappears seamlessly into the physical edge. Something where flexible OLED blurs the distinction between pixels and bezel. A new “wraparound” screen with safe area insets on the vertical edges of the device, just like we saw with the horizontal edges on iPhone X.
Other challenges, like infusing your own branding into an app with clear buttons will be easier to reason about once the reality of the hardware drops. Until then, stay away from the edges and wait for Apple to reveal the real reason for Liquid Glass.
·furbo.org·
Liquid Glass. Why? • furbo.org
The product design talent crisis || Matt Ström-Awn, designer-leader
The product design talent crisis || Matt Ström-Awn, designer-leader
In short, managers kick off a feedback loop by trying to close the gap between their team’s current and desired performance. They have two options: 1) Drive short-term improvements by asking more from senior designers, increasing rewards for top performers, and creating upward pressure through reviews, or 2) Build long-term capability by investing in training, coaching, and career development for junior designers. But the feedback loops between these approaches push companies to prioritize hiring senior talent, as the immediate performance gains outweigh the diffuse returns of capability-building.
·matthewstrom.com·
The product design talent crisis || Matt Ström-Awn, designer-leader
Not all AI-assisted programming is vibe coding (but vibe coding rocks)
Not all AI-assisted programming is vibe coding (but vibe coding rocks)
Andrej is an extremely talented and experienced programmer—he has no need for AI assistance at all. He’s using LLMs like this because it’s fun to try out wild new ideas, and the speed at which an LLM can produce code is an order of magnitude faster than even the most skilled human programmers. For low stakes projects and prototypes why not just let it rip? When I talk about vibe coding I mean building software with an LLM without reviewing the code it writes.
If an LLM wrote the code for you, and you then reviewed it, tested it thoroughly and made sure you could explain how it works to someone else that’s not vibe coding, it’s software development. The usage of an LLM to support that activity is immaterial.
The job of a software developer is not (just) to churn out code and features. We need to create code that demonstrably works, and can be understood by other humans (and machines), and that will support continued development in the future. We need to consider performance, accessibility, security, maintainability, cost efficiency. Software engineering is all about trade-offs—our job is to pick from dozens of potential solutions by balancing all manner of requirements, both explicit and implied.
I think vibe coding is the best tool we have to help experienced developers build that intuition as to what LLMs can and cannot do for them. I’ve published more than 80 experiments I built with vibe coding and I’ve learned so much along the way. I would encourage any other developer, no matter their skill level, to try the same.
·simonwillison.net·
Not all AI-assisted programming is vibe coding (but vibe coding rocks)
Interfaces That Augment or Replace? | Zeh Fernandes
Interfaces That Augment or Replace? | Zeh Fernandes
For interface designers, this distinction opens up new possibilities: instead of just helping users complete a task, we can design interfaces that also help them grow. In the symbiosis between humans and machines, there's potential for real, meaningful gains
if we think about how to turn this competitive interface into a complementary one, some ideas pop up: Explain: Show not just the corrected text, but also why and where it was corrected Feedback: Send a weekly email with the top three recurring mistakes, along with exercises Challenge: Highlight a mistake and ask the person to fix it themselves before showing the corrected version.
All this can be incorporated without slowing the whole process. And there are plenty more possibilities. Even just doing this thought experiment shows how powerful this framework can be for interface design.
Just like living a healthy life means paying attention to what we eat and how we move, we'll need to be more mindful of where we invest our mental energy. The same goes for our creative and learning processes. Instead of just asking for a corrected version of a text, we could request feedback like an editor would give, or ask for a list of five authors who would argue against your core idea.
We are entering a new era of tools and it is up to us to shape them so that in the future they shape us in ways we can be proud of.
·zehfernandes.com·
Interfaces That Augment or Replace? | Zeh Fernandes
The AIs are trying too hard to be your friend
The AIs are trying too hard to be your friend
Reinforcement learning with human feedback is a process by which models learn how to answer queries based on which responses users prefer most, and users mostly prefer flattery. More sophisticated users might balk at a bot that feels too sycophantic, but the mainstream seems to love it. Earlier this month, Meta was caught gaming a popular benchmark to exploit this phenomenon: one theory is that the company tuned the model to flatter the blind testers that encountered it so that it would rise higher on the leaderboard.
A series of recent, invisible updates to GPT-4o had spurred the model to go to extremes in complimenting users and affirming their behavior. It cheered on one user who claimed to have solved the trolley problem by diverting a train to save a toaster, at the expense of several animals; congratulated one person for no longer taking their prescribed medication; and overestimated users’ IQs by 40 or more points when asked.
OpenAI, Meta, and all the rest remain under the same pressures they were under before all this happened. When your users keep telling you to flatter them, how do you build the muscle to fight against their short-term interests?  One way is to understand that going too far will result in PR problems, as it has for varying degrees to both Meta (through the Chatbot Arena situation) and now OpenAI. Another is to understand that sycophancy trades against utility: a model that constantly tells you that you’re right is often going to fail at helping you, which might send you to a competitor. A third way is to build models that get better at understanding what kind of support users need, and dialing the flattery up or down depending on the situation and the risk it entails. (Am I having a bad day? Flatter me endlessly. Do I think I am Jesus reincarnate? Tell me to seek professional help.)
But while flattery does come with risk, the more worrisome issue is that we are training large language models to deceive us. By upvoting all their compliments, and giving a thumbs down to their criticisms, we are teaching LLMs to conceal their honest observations. This may make future, more powerful models harder to align to our values — or even to understand at all. And in the meantime, I expect that they will become addictive in ways that make the previous decade’s debate over “screentime” look minor in comparison. The financial incentives are now pushing hard in that direction. And the models are evolving accordingly.
·platformer.news·
The AIs are trying too hard to be your friend
Have We Been Thinking About A.D.H.D. All Wrong?
Have We Been Thinking About A.D.H.D. All Wrong?
Skeptics argue that many of the classic symptoms of the disorder — fidgeting, losing things, not following instructions — are simply typical, if annoying, behaviors of childhood. In response, others point to the serious consequences that can result when those symptoms grow more intense, including school failure, social rejection and serious emotional distress.
There are two main kinds of A.D.H.D., inattentive and hyperactive/impulsive, and children in one category often seem to have little in common with children in the other. There are people with A.D.H.D. whom you can’t get to stop talking and others whom you can’t get to start. Some are excessively eager and enthusiastic; others are irritable and moody.
Although the D.S.M. specifies that clinicians shouldn’t diagnose children with A.D.H.D. if their symptoms are better explained by another mental disorder, more than three quarters of children diagnosed with A.D.H.D. do have another mental-health condition as well, according to the C.D.C. More than a third have a diagnosis of anxiety, and a similar fraction have a diagnosed learning disorder. Forty-four percent have been diagnosed with a behavioral disorder like oppositional defiant disorder.
This all complicates the effort to portray A.D.H.D. as a distinct, unique biological disorder. Is a patient with six symptoms really that different from one with five? If a child who experienced early trauma now can’t sit still or stay organized, should she be treated for A.D.H.D.? What about a child with an anxiety disorder who is constantly distracted by her worries? Does she have A.D.H.D., or just A.D.H.D.-like symptoms caused by her anxiety?
The subjects who were given stimulants worked more quickly and intensely than the ones who took the placebo. They dutifully packed and repacked their virtual backpacks, pulling items in and out, trying various combinations. In the end, though, their scores on the knapsack test were no better than the placebo group. The reason? Their strategies for choosing items became significantly worse under the medication. Their choices didn’t make much sense — they just kept pulling random items in and out of the backpack. To an observer, they appeared to be focused, well behaved, on task. But in fact, they weren’t accomplishing anything of much value.
Farah directed me to the work of Scott Vrecko, a sociologist who conducted a series of interviews with students at an American university who used stimulant medication without a prescription. He wrote that the students he interviewed would often “frame the functional benefits of stimulants in cognitive-sounding terms.” But when he dug a little deeper, he found that the students tended to talk about their attention struggles, and the benefits they experienced with medication, in emotional terms rather than intellectual ones. Without the pills, they said, they just didn’t feel interested in the assignments they were supposed to be doing. They didn’t feel motivated. It all seemed pointless.
On stimulant medication, those emotions flipped. “You start to feel such a connection to what you’re working on,” one undergraduate told Vrecko. “It’s almost like you fall in love with it.” As another student put it: On Adderall, “you’re interested in what you’re doing, even if it’s boring.”
Socially, though, there was a price. “Around my friends, I’m usually the most social, but when I’m on it, it feels like my spark is kind of gone,” John said. “I laugh a lot less. I can’t think of anything to say. Life is just less fun. It’s not like I’m sad; I’m just not as happy. It flattens things out.”
John also generally doesn’t take his Adderall during the summer. When he’s not in school, he told me, he doesn’t have any A.D.H.D. symptoms at all. “If I don’t have to do any work, then I’m just a completely regular person,” he said. “But once I have to focus on things, then I have to take it, or else I just won’t get any of my stuff done.”
John’s sense that his A.D.H.D. is situational — that he has it in some circumstances but not in others — is a challenge to some of psychiatry’s longstanding assumptions about the condition. After all, diabetes doesn’t go away over summer vacation. But John’s intuition is supported by scientific evidence. Increasingly, research suggests that for many people A.D.H.D. might be thought of as a condition they experience, sometimes temporarily, rather than a disorder that they have in some unchanging way.
For most of his career, he embraced what he now calls the “medical model” of A.D.H.D — the belief that the brains of people with A.D.H.D. are biologically deficient, categorically different from those of typical, healthy individuals. Now, however, Sonuga-Barke is proposing an alternative model, one that largely sidesteps questions of biology. What matters instead, he says, is the distress children feel as they try to make their way in the world.
Sonuga-Barke’s proposed model locates A.D.H.D. symptoms on a continuum, rather than presenting the condition as a distinct, natural category. And it departs from the medical model in another crucial way: It considers those symptoms not as indications of neurological deficits but as signals of a misalignment between a child’s biological makeup and the environment in which they are trying to function. “I’m not saying it’s not biological,” he says. “I’m just saying I don’t think that’s the right target. Rather than trying to treat and resolve the biology, we should be focusing on building environments that improve outcomes and mental health.”
What the researchers noticed was that their subjects weren’t particularly interested in talking about the specifics of their disorder. Instead, they wanted to talk about the context in which they were now living and how that context had affected their symptoms. Subject after subject spontaneously brought up the importance of finding their “niche,” or the right “fit,” in school or in the workplace. As adults, they had more freedom than they did as children to control the parameters of their lives — whether to go to college, what to study, what kind of career to pursue. Many of them had sensibly chosen contexts that were a better match for their personalities than what they experienced in school, and as a result, they reported that their A.D.H.D. symptoms had essentially disappeared. In fact, some of them were questioning whether they had ever had a disorder at all — or if they had just been in the wrong environment as children.
The work environments where the subjects were thriving varied. For some, the appeal of their new jobs was that they were busy and cognitively demanding, requiring constant multitasking. For others, the right context was physical, hands-on labor. For all of them, what made a difference was having work that to them felt “intrinsically interesting.”
“Rather than a static ‘attention deficit’ that appeared under all circumstances,” the M.T.A. researchers wrote, “our subjects described their propensity toward distraction as contextual. … Believing the problem lay in their environments rather than solely in themselves helped individuals allay feelings of inadequacy: Characterizing A.D.H.D. as a personality trait rather than a disorder, they saw themselves as different rather than defective.”
For the young adults in the “niche” study who were interviewed about their work lives, the transition that helped them overcome their A.D.H.D. symptoms often was leaving academic work for something more kinetic. For Sonuga-Barke, it was the opposite. At university, he would show up at the library at 9 every morning and sit in his carrel working until 5. The next day, he would do it again. Growing up, he says, he had a natural tendency to “hyperfocus,” and back at school in Derby, that tendency looked to his teachers like daydreaming. At university, it became his secret weapon
I asked Sonuga-Barke what he might have gained if he grew up in a different time and place — if he was prescribed Ritalin or Adderall at age 8 instead of just being packed off to the remedial class. “I don’t think I would have gained anything,” he said. “I think without medication, you learn alternative ways of dealing with stuff. In my particular case, there are a lot of characteristics that have helped me. My mind is constantly churning away, thinking of things. I never relax. The way I motivate myself is to turn everything into a problem and to try and solve the problem.”
“The simple model has always been, basically, ‘A.D.H.D. plus medication equals no A.D.H.D.,’” he says. “But that’s not true. Medication is not a silver bullet. It never will be.” What medication can sometimes do, he believes, is allow families more room to communicate. “At its best,” he says, “medication can provide a window for parents to engage with their kids,” by moderating children’s behavior, at least temporarily, so that family life can become more than just endless fights about overdue homework and lost lunchboxes. “If you have a more positive relationship with your child, they’re going to have a better outcome. Not for their A.D.H.D. — it’s probably going to be just the same. But in terms of dealing with the self-hatred and low self-esteem that often goes along with A.D.H.D.
The alternative model, by contrast, tells a child a very different story: that his A.D.H.D. symptoms exist on a continuum, one on which we all find ourselves; that he may be experiencing those symptoms as much because of where he is as because of who he is; and that next year, if things change in his surroundings, those symptoms might change as well. Armed with that understanding, he and his family can decide whether medication makes sense — whether for him, the benefits are likely to outweigh the drawbacks. At the same time, they can consider whether there are changes in his situation, at school or at home, that might help alleviate his symptoms.
Admittedly, that version of A.D.H.D. has certain drawbacks. It denies parents the clear, definitive explanation for their children’s problems that can come as such a relief, especially after months or years of frustration and uncertainty. It often requires a lot of flexibility and experimentation on the part of patients, families and doctors. But it has two important advantages as well: First, the new model more accurately reflects the latest scientific understanding of A.D.H.D. And second, it gives children a vision of their future in which things might actually improve — not because their brains are chemically refashioned in a way that makes them better able to fit into the world, but because they find a way to make the world fit better around their complicated and distinctive brains.
·nytimes.com·
Have We Been Thinking About A.D.H.D. All Wrong?
What kind of disruption? — Benedict Evans
What kind of disruption? — Benedict Evans
Where previous generations of tech companies sold software to hotels and taxi companies, Airbnb and Uber used software to create new businesses and to redefine markets. Uber changed what we mean when we say ‘taxi’ and Airbnb changed hotels.
But for all sorts of reasons, the actual effect of that on the taxi and hotel industries was very different. The regulation is different. The supply of people with a car and few hours to spare is very different from the supply of people with a spare room to rent out (indeed, there is adverse selection in that difference). The delta between waving your hand on a street corner and pressing a button on your phone is different to the delta between booking a hotel room and booking a stranger’s apartment.
Sometimes disruption is much more about new demand than challenging the existing market, or only affects a peripheral business, as happened with Skype.
it’s always easier to shout ‘disruption!’ or ‘AI!’ than to ask what kind.
·ben-evans.com·
What kind of disruption? — Benedict Evans
The Age of Para-Content
The Age of Para-Content
In December 2023, Rockstar Games dropped the trailer for the highly anticipated Grand Theft Auto VI. In just 24 hours, it was viewed over 93 million times! In the same period, a deluge of fan content was made about the trailer and it generated 192 million views, more than double that of the official trailer. Youtube’s 2024 Fandom Survey reports that 66% of Gen Z Americans agree that “they often spend more time watching content that discusses or unpacks something than the thing itself.” (Youtube Culture and Trend Report 2024)
Much like the discussions and dissections populating YouTube fan channels, ancient scholarly traditions have long embraced similar practices. This dialogue between the original text and the interpretation is exemplified, for instance, in the Midrash, the collection of rabbinic exegetical writings that interprets the written and oral Torah. Midrashim “discern value in texts, words, and letters, as potential revelatory spaces. They reimagine dominant narratival readings while crafting new ones to stand alongside—not replace—former readings. Midrash also asks questions of the text; sometimes it provides answers, sometimes it leaves the reader to answer the questions”. (Gafney 2017)
The Midrash represents a form of religious para-content. It adds, amends, interprets, extends the text’s meaning in service of a faith-based community. Contemporary para-content plays a similar role in providing insights, context and fan theories surrounding cultural objects of love, oftentimes crafting new parallel narratives and helping fans insert themselves into the work.
highly expressive YouTubers perform an emotional exegesis, punctuating and highlighting the high points and key bars of the song, much like the radio DJ of yore. TikTok is now flooded with reactions to the now unforgettable “Mustard” exclamation in Kendrick’s “TV Off,” affirming to fans that this moment is a pivotal moment in the song, validating that it is culturally resonant.
Para-content makers may be called “creators” or “influencers” but their actual role is that of “contextualizer”, the shapers of a cultural artifact’s horizon. The concept of “horizon” originates from “reception theory” in literary theory which posits that the meaning of a text is not a fixed property inscribed by its creator but a dynamic creation that unfolds at the juncture of the text and its audience.
American economist Tyler Cowen often uses the refrain “Context is that which is scarce” to describe that while art, information and content may be abundant, understanding—the ability to situate that information within a meaningful context—remains a rare and valuable resource. Para-content thrives precisely because it claims to provide this scarce context.
As content proliferates, the challenge isn’t accessing cultural works but understanding how they fit into larger narratives and why they matter. There is simply too much content, context makes salient which deserves our attention.
Your friend’s favorite line in a song became a hook for your own appreciation of it. Seeing how people reacted to a song’s pivotal moment at a house party made clear the song’s high point. Hearing a professor rave about a shot in a movie made you lean in when you watched it. Often, you developed your own unique appreciation for something which you then shared with peers. These are all great examples of organic contextualization. Yet this scarcity of context also illuminates the dangers of para-content. When contextualizers wield disproportionate influence, there is a risk that their exegesis becomes prescriptive rather than suggestive.
The tyranny of the contextualizer online is their constant and immovable presence between the reader and the text, the listener and the music, the viewer and the film. We now reach for context before engaging with the content. When my first interaction with a song is through TikTok reactions, I no longer encounter the work as it is, on my own. It comes with context juxtaposed, pre-packaged. This removes the public’s ability to construct, even if for a moment, their own unique horizons.
·taste101.substack.com·
The Age of Para-Content
Taste is Eating Silicon Valley.
Taste is Eating Silicon Valley.
The lines between technology and culture are blurring. And so, it’s no longer enough to build great tech.
Whether in expressed via product design, brand, or user experience, taste now defines how a product is perceived and felt as well as how it is adopted, i.e. distributed — whether it’s software or hardware or both. Technology has become deeply intertwined with culture.3 People now engage with technology as part of their lives, no matter their location, career, or status.
founders are realizing they have to do more than code, than be technical. Utility is always key, but founders also need to calibrate design, brand, experience, storytelling, community — and cultural relevance. The likes of Steve Jobs and Elon Musk are admired not just for their technical innovations but for the way they turned their products, and themselves, into cultural icons.
The elevation of taste invites a melting pot of experiences and perspectives into the arena — challenging “legacy” Silicon Valley from inside and outside.
B2C sectors that once prioritized functionality and even B2B software now feel the pull of user experience, design, aesthetics, and storytelling.
Arc is taking on legacy web browsers with design and brand as core selling points. Tools like Linear, a project management tool for software teams, are just as known for their principled approach to company building and their heavily-copied landing page design as they are known for their product’s functionality.4 Companies like Arc and Linear build an entire aesthetic ecosystem that invites users and advocates to be part of their version of the world, and to generate massive digital and literal word-of-mouth. (Their stories are still unfinished but they stand out among this sector in Silicon Valley.)
Any attempt to give examples of taste will inevitably be controversial, since taste is hard to define and ever elusive. These examples are pointing at narratives around taste within a community.
So how do they compete? On how they look, feel, and how they make users feel.6 The subtleties of interaction (how intuitive, friendly, or seamless the interface feels) and the brand aesthetic (from playful websites to marketing messages) are now differentiators, where users favor tools aligned with their personal values. All of this should be intertwined in a product, yet it’s still a noteworthy distinction.
Investors can no longer just fund the best engineering teams and wait either. They’re looking for teams that can capture cultural relevance and reflect the values, aesthetics, and tastes of their increasingly diverse markets.
How do investors position themselves in this new landscape? They bet on taste-driven founders who can capture the cultural zeitgeist. They build their own personal and firm brands too. They redesign their websites, write manifestos, launch podcasts, and join forces with cultural juggernauts.
Code is cheap. Money now chases utility wrapped in taste, function sculpted with beautiful form, and technology framed in artistry.
The dictionary says it’s the ability to discern what is of good quality or of a high aesthetic standard. Taste bridges personal choice (identity), societal standards (culture), and the pursuit of validation (attention). But who sets that standard? Taste is subjective at an individual level — everyone has their own personal interpretation of taste — but it is calibrated from within a given culture and community.
Taste manifests as a combination of history, design, user experience, and embedded values that creates emotional resonance — that defines how a product connects with people as individuals and aligns with their identity. None of the tactical things alone are taste; they’re mere artifacts or effects of expressing one’s taste. At a minimum, taste isn’t bland — it’s opinionated.
The most compelling startups will be those that marry great tech with great taste. Even the pursuit of unlocking technological breakthroughs must be done with taste and cultural resonance in mind, not just for the sake of the technology itself. Taste alone won’t win, but you won’t win without taste playing a major role.
Founders must now master cultural resonance alongside technical innovation.
In some sectors—like frontier AI, deep tech, cybersecurity, industrial automation—taste is still less relevant, and technical innovation remains the main focus. But the footprint of sectors where taste doesn’t play a big role is shrinking. The most successful companies now blend both. Even companies aiming to be mainstream monopolies need to start with a novel opinionated approach.
I think we should leave it at “taste” which captures the artistic and cultural expressions that traditional business language can’t fully convey, reflecting the deep-rooted and intuitive aspects essential for product dev
·workingtheorys.com·
Taste is Eating Silicon Valley.
Make Something Heavy
Make Something Heavy
The modern makers’ machine does not want you to create heavy things. It runs on the internet—powered by social media, fueled by mass appeal, and addicted to speed. It thrives on spikes, scrolls, and screenshots. It resists weight and avoids friction. It does not care for patience, deliberation, or anything but production. It doesn’t care what you create, only that you keep creating. Make more. Make faster. Make lighter. Make something that can be consumed in a breath and discarded just as quickly. Heavy things take time. And here, time is a tax.
even the most successful Substackers—those who’ve turned newsletters into brands and businesses—eventually want to stop stacking things. They want to make one really, really good thing. One truly heavy thing. A book. A manifesto. A movie. A media company. A momument.
At any given time, you’re either pre–heavy thing or post–heavy thing. You’ve either made something weighty already, or you haven’t. Pre–heavy thing people are still searching, experimenting, iterating. Post–heavy thing people have crossed the threshold. They’ve made something substantial—something that commands respect, inspires others, and becomes a foundation to build on. And it shows. They move with confidence and calm. (But this feeling doesn’t always last forever.)
No one wants to stay in light mode forever. Sooner or later, everyone gravitates toward heavy mode—toward making something with weight. Your life’s work will be heavy. Finding the balance of light and heavy is the game.4 Note: heavy doesn’t have to mean “big.” Heavy can be small, niche, hard to scale. What I’m talking about is more like density. It’s about what is defining, meaningful, durable.
Telling everyone they’re a creator has only fostered a new strain of imposter syndrome. Being called a creator doesn’t make you one or make you feel like one; creating something with weight does. When you’ve made something heavy—something that stands on its own—you don’t need validation. You just know, because you feel its weight in your hands.
It’s not that most people can’t make heavy things. It’s that they don’t notice they aren’t. Lightness has its virtues—it pulls us in, subtly, innocently, whispering, 'Just do things.' The machine rewards movement, so we keep going, collecting badges. One day, we look up and realize we’ve been running in place.
Why does it feel bad to stop posting after weeks of consistency? Because the force of your work instantly drops to zero. It was all motion, no mass—momentum without weight. 99% dopamine, near-zero serotonin, and no trace of oxytocin. This is the contemporary creator’s dilemma—the contemporary generation’s dilemma.
We spend our lives crafting weighted blankets for ourselves—something heavy enough to anchor our ambition and quiet our minds.
Online, by nature, weight is harder to find, harder to hold on to, and only getting harder in a world where it feels like anyone can make anything.
·workingtheorys.com·
Make Something Heavy
When was the last time you felt consensus?
When was the last time you felt consensus?
Biederman so succinctly put it, at some point between the first Trump administration and the second, “Article World” was defeated by “Post World”. As he sees it, “Article World” is the universe of American corporate journalism and punditry that, well, basically held up liberal democracy in this country since the invention of the radio. And “Post World” is everything the internet has allowed to flourish since the invention of the smartphone — YouTubers, streamers, influencers, conspiracy theorists, random trolls, bloggers, and, of course, podcasters. And now huge publications and news channels are finally noticing that Article World, with all its money and resources and prestige, has been reduced to competing with random posts that both voters and government officials happen to see online.
during the first Trump administration, the president’s various henchmen would do something illegal or insane, a reporter would find out, cable news and newspapers would cover it nonstop, and usually that henchman would resign or, oftentimes, end up in jail
this is why the media is typically called the fourth branch of the government
This also explains why Texas is trying to pass the “Forbidden Unlawful Representation of Roleplaying in Education,” or “FURRIES” Act, based on a years-old anti-trans internet conspiracy theory. It’s why Trump’s team is targeting former President Joe Biden’s autopen-signed pardons after the idea surfaced in a viral X post shared by Libs Of TikTok. And it’s why US Secretary of Defense Pete Hegseth is investigating random social media reports that military bases are still letting personnel list their preferred pronouns on different forms. Posts are all that matters now. And it’s likely no amount of articles can defeat them. Well, I guess we’ll find out.
When was the last time you truly felt consensus? Not in the sense that a trend was happening around you — although, was it? — but a new fact or bit of information that felt universally agreed upon?
·garbageday.email·
When was the last time you felt consensus?
Gen Z and the End of Predictable Progress
Gen Z and the End of Predictable Progress
Gen Z faces a double disruption: AI-driven technological change and institutional instability Three distinct Gen Z cohorts have emerged, each with different relationships to digital reality A version of the barbell strategy is splitting career paths between "safety seekers" and "digital gamblers" Our fiscal reality is quite stark right now, and that is shaping how young people see opportunities
When I talk to young people from New York or Louisiana or Tennessee or California or DC or Indiana or Massachusetts about their futures, they're not just worried about finding jobs, they're worried about whether or not the whole concept of a "career" as we know it will exist in five years.
When a main path to financial security comes through the algorithmic gods rather than institutional advancement (like when a single viral TikTok can generate more income than a year of professional work) it fundamentally changes how people view everything from education to social structures to political systems that they’re apart of.
Gen Z 1.0: The Bridge Generation: This group watched the digital transformation happen in real-time, experiencing both the analog and internet worlds during formative years. They might view technology as a tool rather than an environment. They're young enough to navigate digital spaces fluently but old enough to remember alternatives. They (myself included) entered the workforce during Covid and might have severe workplace interaction gaps because they missed out on formative time during their early years. Gen Z 1.5: The Covid Cohort: This group hit major life milestones during a global pandemic. They entered college under Trump but graduated under Biden. This group has a particularly complex relationship with institutions. They watched traditional systems bend and break in real-time during Covid, while simultaneously seeing how digital infrastructure kept society functioning. Gen Z 2.0: The Digital Natives: This is the first group that will be graduate into the new digital economy. This group has never known a world without smartphones. To them, social media could be another layer of reality. Their understanding of economic opportunity is completely different from their older peers.
Gen Z 2.0 doesn't just use digital tools differently, they understand reality through a digital-first lens. Their identity formation happens through and with technology.
Technology enables new forms of value exchange, which creates new economic possibilities so people build identities around these possibilities and these identities drive development of new technologies and the cycle continues.
different generations don’t just use different tools, they operate in different economic realities and form identity through fundamentally different processes. Technology is accelerating differentiation. Economic paths are becoming more extreme. Identity formation is becoming more fluid.
I wrote a very long piece about why Trump won that focused on uncertainty, structural affordability, and fear - and that’s what the younger Gen Z’s are facing. Add AI into this mix, and the rocky path gets rockier. Traditional professional paths that once promised stability and maybe the ability to buy a house one day might not even exist in two years. Couple this with increased zero sum thinking, a lack of trust in institutions and subsequent institutional dismantling, and the whole attention economy thing, and you’ve got a group of young people who are going to be trying to find their footing in a whole new world. Of course you vote for the person promising to dismantle it and save you.
·kyla.substack.com·
Gen Z and the End of Predictable Progress
The Workbench Dispatch: 009
The Workbench Dispatch: 009
Mark Sabino argues that a significant cultural "Vibe Shift" has occurred, marked by regression and conservatism that wasn't sudden but built gradually through passive consumption habits and phrases like "Let people enjoy things" and "It's not that deep," which have undermined critical thinking and enabled regressive mindsets
His worlds can be isolated, smothering, grating, haunting, bleak, warm, familiar, alien, all at once. They are never dull and they are never someone else’s. Never sacrificing his weirdness, his staunch outlooks on life, or his vision, you can feel his fingerprints on everything he made, because nobody else possibly could have. Sometimes annoying with how opaquely abstract they can be, but never in a cynical way. He had a laser precise understanding of his control over an audience, and explored all the extremes that come with that. He wove dark, brutal, sometimes cruel tapestries of our own psyches and displayed them back to us with white glove care.
Despite being viewed as abstract or avant garde, there is an inescapable Americana to his work, with all of its horrific blemishes and stunning beauty, hand in hand just like the country itself.
Lynch’s art is uncomfortable, uncompromising, but never uncaring. Frigid surreality that could only be a product of warm humanity. Darkness will always coupled with light. After all, nightmares are still dreams.
I would argue that the core tenets of the average American consumer mindset in 2025, the perfect encapsulations of the noxious attitudes that led us to where we are now, come in the form of two particular phrases that have been parroted ad nauseam the last few years.
The first of which is the classic, “Let people enjoy things.” Deconstructing it, it really defines the entire first half of the decade in more ways than one. An invisible straw-man evil big Other that somehow controls whether or not people can “have fun”, a childish temper tantrum thrown by people still getting what they want caused by having to face any form of critical thinking for doing so, a shrieking demand for more pacification, it really has it all. Is it fine for people to have hobbies and interests and passions that don’t align with yours? Absolutely.
There is a large, crucial difference between “letting someone” enjoy something, and negligently allowing something toxic to fester and gradually spread untreated like ignored black mold. Our modern narcissism and individualism have made people so entrenched in their demands for consumption, that it’s hard to imagine who even is not letting people enjoy things at this point.
The all-but-hedonistic behavior of our modern day certainly doesn’t reflect a culture of people not being allowed to enjoy things, but rather one that wants to be able to enjoy things without having to think about it. Any sort of opposing belief, or conscious step back from the raging maw of consumption is met with complete indignation, as if their right to slop is being infringed upon.
Alternatively, chances for maturation or growth get flippantly put off for some other time that never comes, a complete refusal to actually analyze our relationship to the way we operate.
This brings us to the second defining phrase of the times that I’d like to break down, one that is constantly coupled with the former, the oft-repeated, aggressively vapid, “It’s not that deep.”
Part reaction to the supposed “intellectualism” and woke-ism of the 2010s, part rejection of personal responsibility for one’s own habits and actions, it most succinctly sums up the prevailing attitudes that have dictated the course of the Biden and now Trump 2.0 years. If our beautiful and twisted history has taught us anything, it’s that things are usually always that deep, but somehow we’ve began plugging our ears to that fact. It is a frankly dangerous indicator of the median population’s attitude towards growth or challenging oneself in any way.
In the realm of media, this rejection of the inherent depth of things has completely altered people’s understanding about those things. If one’s own scope of something is minimized, anything outside of that scope is easier to be written off as antagonistic, foreign, pretentious, or any other label that leads to dismissal. Valid, formal criticism, (sometimes even from a place of love!), gets brushed off as “hating” because the idea that someone thought about something in a deeper way and wasn’t pleased with what they found is abrasive to those unwilling to explore that same level of depth.
Additionally, this phrase has been the perfect excuse as evil rhetorics are unconsciously spread through seemingly innocuous or lighthearted means. “It’s just a meme, it’s not that deep.” quickly turns to “How did this propaganda spread so fast?”. Through the first 5 years of our decade, we have gradually let it become defined by half gestures and “meh” reactions, a drab grey monocultural sludge, and then have the audacity to wonder how it got that way. We let it slip away ourselves through embracing memetic psyops, “gotta hand it to ‘em”s and "letting people have fun”. Well now they’re having their fun, the question is, do you think they’ll return that favor to you?
Giant swaths of the population have both figuratively and literally thrown their masks away, and are perfectly dumbed down and pacified to be absolutely steamrolled by a whole new wave of regression and recession.
At the time of writing this, Tiktok has been banned and subsequently hours later unbanned, all with Donald Trump’s name fully plastered over the entire ordeal, in what can only come across as a very obvious ploy to swing more gullible idiots into supporting him. The problem with this blatant grab to try and become a hero of a ban that he initially pushed for however, is that it’s working scarily well. The tectonic shift that has been building steadily throughout the course of the failure of the Biden era has finally come for its biggest payoff yet. Capitalizing on people’s COVID fried, goldfish sized memories in order to continue to innocuously shift people right into submission.
The biggest takeaway from the election and gradual Vibe Shift is the powers that be realizing they had more numbers than they thought, that the middle of the bell curve is infinitely more manipulatable than expected. Either directly through propaganda, or indirectly through desensitization via prolonged exposure to the most concentrated, hallucinogenic stupidity available.
If a gun were being pointed in our face, why would we argue that it’s only harmful if someone pulled the trigger.
Another noticeable symptom of this mode of behavior we have fallen into is the warping of what used to be considered “playing devil’s advocate”, and how it has impacted the way we digest and talk about art.
Similar to the attitudes surrounding fast fashion, somewhere along the line people stopped caring about trying to be better than the Mall, even going so far as to fight on the Mall’s behalf out of pure, empty contrarianism. Popularity took the reins as the de-facto measurement of quality, the belief was planted that the mainstream has our artistic best interests in mind, and people militantly ride for that belief despite decades of proof of the opposite. Not knowing nor caring that they’re secretly advocating for overall worse quality of experiences for themselves.
Too many people want to play devil’s advocate but don’t possess the depth of knowledge, the insight, or nuance to do so, so they wind up just playing devil instead, blindly defending degradation rather than express a bit of concern for the way things are going.
It has brought us to where we are now, a legion of people ready to die on the hill of slop, so as not to make any ripples, without even wanting to know if there can be anything better than the lowest common denominator what was shoved down their throats. Taking the sides of the rich people and giant brands that want to give the consumer nothing above mediocrity. These people and places don’t deserve our benefit of the doubt, because they’ve already won.
Vehemently and vocally rejecting that mainstream and embracing what we know to actually be cool. The time for passivity is over, because this continued sliding by the mainstream is active. We know we can be smarter, more conscious consumers, aware of what’s better than the mall or the radio or the pointed propagandized memes on tiktok. We know there’s more rich experiences to be had, art to discover, statements to make, ways to expand our thought that will not be presented to us on a silver platter by giant corporations or industry machines. We can speak with our eyes, ears, voices, and most importantly wallets. If something sucks, say it and stand on it, because it is far too easy now to succumb to the “well everybody’s doing it” mentality.
My tolerance for bad faith devil’s advocate arguments that only contribute to spin the wheels of progress in place is gone. We have only a short amount of time on this earth and I don’t intend to waste it watching that window of opportunity be pissed away by someone else.
Every time you open your mouth is an opportunity to say something new, something of worth, and I do not want to waste even one moment. It’s time to get serious and realize yes it is that deep. It always has been. I can’t say for certain exactly what this counter-culture will manifest as or even look like specifically, but I do have faith that something can and will emerge. There is far too much talent, energy, emotion, conviction, and spirit out there to not.
·marksnotnice.substack.com·
The Workbench Dispatch: 009
Your "Per-Seat" Margin is My Opportunity
Your "Per-Seat" Margin is My Opportunity

Traditional software is sold on a per seat subscription. More humans, more money. We are headed to a future where AI agents will replace the work humans do. But you can’t charge agents a per seat cost. So we’re headed to a world where software will be sold on a consumption model (think tasks) and then on an outcome model (think job completed) Incumbents will be forced to adapt but it’s classic innovators dilemma. How do you suddenly give up all that subscription revenue? This gives an opportunity for startups to win.

Per-seat pricing only works when your users are human. But when agents become the primary users of software, that model collapses.
Executives aren't evaluating software against software anymore. They're comparing the combined costs of software licenses plus labor against pure outcome-based solutions. Think customer support (per resolved ticket vs. per agent + seat), marketing (per campaign vs. headcount), sales (per qualified lead vs. rep). That's your pricing umbrella—the upper limit enterprises will pay before switching entirely to AI.
enterprises are used to deterministic outcomes and fixed annual costs. Usage-based pricing makes budgeting harder. But individual leaders seeing 10x efficiency gains won't wait for procurement to catch up. Savvy managers will find ways around traditional buying processes.
This feels like a generational reset of how businesses operate. Zero upfront costs, pay only for outcomes—that's not just a pricing model. That's the future of business.
The winning strategy in my books? Give the platform away for free. Let your agents read and write to existing systems through unstructured data—emails, calls, documents. Once you handle enough workflows, you become the new system of record.
·writing.nikunjk.com·
Your "Per-Seat" Margin is My Opportunity
Notes on “Taste” | Are.na Editorial
Notes on “Taste” | Are.na Editorial
Taste has historically been reserved for conversation about things like fashion and art. Now, we look for it in our social media feeds, the technology we use, the company we keep, and the people we hire.
When I ask people what they mean by “taste,” they’ll stumble around for a bit and eventually land on something like “you know it when you see it,” or “it’s in the eye of the beholder.” I understand. Words like taste are hard to pin down, perhaps because they describe a sensibility more than any particular quality, a particular thing. We’re inclined to leave them unencumbered by a definition, to preserve their ability to shift shapes.
’ve found a taste-filled life to be a richer one. To pursue it is to appreciate ourselves, each other, and the stuff we’re surrounded by a whole lot more.
I can’t think of a piece of writing that does this more effectively than Susan Sontag’s “Notes on ‘Camp.’” In her words, “a sensibility is one of the hardest things to talk about... To snare a sensibility in words, especially one that is alive and powerful, one must be tentative and nimble.
Things don’t feel tasteful, they demonstrate taste. Someone’s home can be decorated tastefully. Someone can dress tastefully. The vibe cannot be tasteful. The experience cannot be tasteful.
Someone could have impeccable taste in art, without producing any themselves. Those who create tasteful things are almost always deep appreciators, though.
we typically talk about it in binaries. One can have taste or not. Great taste means almost the same thing as taste.
They’re the people you always go to for restaurant or movie or gear recommendations. Maybe it’s the person you ask to be an extra set of eyes on an email or a project brief before you send it out.
It requires intention, focus, and care. Taste is a commitment to a state of attention.
As John Saltivier says in an essay about building a set of stairs, “surprising detail is a near universal property of getting up close and personal with reality.”
To quote Susan Sontag again, “There is taste in people, visual taste, taste in emotion — and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas. One of the facts to be reckoned with is that taste tends to develop very unevenly. It's rare that the same person has good visual taste and good taste in people and taste in ideas.” The sought-after interior designer may not mind gas station coffee. The prolific composer may not give a damn about how they dress.
Taste in too many things would be tortuous. The things we have taste in often start as a pea under the mattress.
it is often formed through the integration of diverse, and wide-ranging inputs. Steve Jobs has said, “I think part of what made the Macintosh great was that the people working on it were musicians and poets and artists and zoologists and historians who also happened to be the best computer scientists in the world.”
taste gets you to the thing that’s more than just correct. Taste hits different. It intrigues. It compels. It moves. It enchants. It fascinates. It seduces.
Taste honors someone’s standards of quality, but also the distinctive way the world bounces off a person. It reflects what they know about how the world works, and also what they’re working with in their inner worlds. When we recognize  true taste, we are recognizing that alchemic combination of skill and soul. This is why it is so alluring.
many snobs (coffee snobs, gear snobs, wine snobs, etc.) often have great taste. But I would say that taste is the sensibility, and snobbery is one way to express the sensibility. It’s not the only way.
If rich people often have good taste it’s because they grew up around nice things, and many of them acquired an intolerance for not nice things as a result. That’s a good recipe for taste, but it’s not sufficient and it’s definitely not a guarantee. I know people that are exceedingly picky about the food they eat and never pay more than $20 for a meal.
creating forces taste upon its maker. Creators must master self-expression and craft if they’re going to make something truly compelling.
artists are more sensitive. They’re more observant, feel things more deeply, more obsessive about details, more focused on how they measure up to greatness.
Picasso remarking that “when art critics get together they talk about Form and Structure and Meaning. When artists get together they talk about where you can buy cheap turpentine.” Taste rests on turpentine.
the process of metabolizing the world is a slow one. Wield your P/N meter well, take your time learning what you find compelling, and why. There are no shortcuts to taste. Taste cannot sublimate. It can only bloom. To quote Susan Sontag one last time, “taste has no system and no proofs. But there is something like a logic of taste: the consistent sensibility which underlies and gives rise to a certain taste.
·are.na·
Notes on “Taste” | Are.na Editorial
The Cost-of-Living Crisis Explains Everything
The Cost-of-Living Crisis Explains Everything
headline economic figures have become less and less of a useful guide to how actual families are doing—something repeatedly noted by Democrats during the Obama recovery and the Trump years. Inequality may be declining, but it still skews GDP and income figures, with most gains going to the few, not the many. The obscene cost of health care saps family incomes and government coffers without making anyone feel healthier or wealthier.
To be clear, the headline economic numbers are strong. The gains are real. The reduction in inequality is tremendous, the pickup in wage growth astonishing, particularly if you anchor your expectations to the Barack Obama years, as many Biden staffers do.
During the Biden-Harris years, more granular data pointed to considerable strain. Real median household income fell relative to its pre-COVID peak. The poverty rate ticked up, as did the jobless rate. The number of Americans spending more than 30 percent of their income on rent climbed. The delinquency rate on credit cards surged, as did the share of families struggling to afford enough nutritious food, as did the rate of homelessness.
the White House never passed the permanent care-economy measures it had considered.
the biggest problem, one that voters talked about at any given opportunity, was the unaffordability of American life. The giant run-up in inflation during the Biden administration made everything feel expensive, and the sudden jump in the cost of small-ticket, common purchases (such as fast food and groceries) highlighted how bad the country’s long-standing large-ticket, sticky costs (health care, child care, and housing) had gotten. The cost-of-living crisis became the defining issue of the campaign, and one where the incumbent Democrats’ messaging felt false and weak.
Rather than acknowledging the pain and the trade-offs and the complexity—and rather than running a candidate who could have criticized Biden’s economic plans—Democrats dissembled. They noted that inflation was a global phenomenon, as if that mattered to moms in Ohio and machinists in the Central Valley. They pushed the headline numbers. They insisted that working-class voters were better off, and ran on the threat Trump posed to democracy and rights. But were working-class voters really better off? Why wasn’t anyone listening when they said they weren’t?
Voters do seem to be less likely to vote in their economic self-interest these days, and more likely to vote for a culturally compelling candidate. As my colleague Rogé Karma notes, lower-income white voters are flipping from the Democratic Party to the Republican Party on the basis of identitarian issues. The sharp movement of union voters to Trump seems to confirm the trend. At the same time, high-income voters are becoming bluer in order to vote their cosmopolitan values.
The Biden-Harris administration did make a difference in concrete, specific ways: It failed to address the cost-of-living catastrophe and had little to show for its infrastructure laws, even if it found a lot to talk about. And it dismissed voters who said they hated the pain they felt every time they had to open their wallet.
·theatlantic.com·
The Cost-of-Living Crisis Explains Everything
One last look at why Harris lost the 2024 election.
One last look at why Harris lost the 2024 election.
"The fog of war" is an expression that describes uncertainty about your adversary's capabilities and intentions while in the middle of battle. But it's also an appropriate way to describe our knowledge and understanding of history while living through it.
Everyone in the media seems to want this election to be about the issue they care most about, or to find a way to answer “why Trump won” or “what happened to the Democratic party” in a few sentences. I think that kind of quick summation is impossible. Elections are always decided by a confluence of several factors, some more important than others, and today I’m trying to lay out those factors I suspect were most relevant. That’s the goal: not to give a single, definitive answer, but a holistic and overarching one.
A lot of people, including Democratic strategists, have tried to explain to voters why they shouldn’t feel this way. They've pointed to low unemployment, inflation dissipating, and GDP growth — traditional metrics for measuring economic success — as proof that Bidenomics was working. But these macro numbers didn’t soothe the reality of what was happening at the granular level. Very few Democrats, and very few pundits, seem to have grasped this.
it turned out that Trump's 2020 performance (even in a loss) was the beginning of a new trend, not a fluke. While Democrats were focused on winning back white working-class voters, they actually lost support among their traditionally more multiethnic base.
·readtangle.com·
One last look at why Harris lost the 2024 election.
Inside the Collapse of Venture for America
Inside the Collapse of Venture for America
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.”
·archive.is·
Inside the Collapse of Venture for America
Bernie Would Have Won
Bernie Would Have Won

AI summary: This article argues that Trump's 2024 victory represents the triumph of right-wing populism over neoliberalism, enabled by Democratic Party leadership's deliberate suppression of Bernie Sanders' left-wing populist movement. The piece contends that by rejecting class-focused politics in favor of identity politics and neoliberal policies, Democrats created a vacuum that Trump's authoritarian populism filled.

Here’s a warning and an admonition written in January 2019 by author and organizer Jonathan Smucker: “If the Dem Party establishment succeeds in beating down the fresh leadership and bold vision that's stepping up, it will effectively enable the continued rise of authoritarianism. But they will not wake up and suddenly grasp this. It's on us to outmaneuver them and win.”
There are a million surface-level reasons for Kamala Harris’s loss and systematic underperformance in pretty much every county and among nearly every demographic group. She is part of a deeply unpopular administration. Voters believe the economy is bad and that the country is on the wrong track. She is a woman and we still have some work to do as a nation to overcome long-held biases.  But the real problems for the Democrats go much deeper and require a dramatic course correction of a sort that, I suspect, Democrats are unlikely to embark upon. The bottom line is this: Democrats are still trying to run a neoliberal campaign in a post-neoliberal era. In other words, 2016 Bernie was right.
The lie that fueled the Iraq war destroyed confidence in the institutions that were the bedrock of this neoliberal order and in the idea that the U.S. could or should remake the world in our image. Even more devastating, the financial crisis left home owners destitute while banks were bailed out, revealing that there was something deeply unjust in a system that placed capital over people.
These events sparked social movements on both the right and the left. The Tea Party churned out populist-sounding politicians like Sarah Palin and birtherist conspiracies about Barack Obama, paving the way for the rise of Donald Trump. The Tea Party and Trumpism are not identical, of course, but they share a cast of villains: The corrupt bureaucrats or deep state. The immigrants supposedly changing your community. The cultural elites telling you your beliefs are toxic. Trump’s version of this program is also explicitly authoritarian. This authoritarianism is a feature not a bug for some portion of the Trump coalition which has been persuaded that democracy left to its own devices could pose an existential threat to their way of life.
On the left, the organic response to the financial crisis was Occupy Wall Street, which directly fueled the Bernie Sanders movement. Here, too, the villains were clear. In the language of Occupy it was the 1% or as Bernie put it the millionaires and billionaires. It was the economic elite and unfettered capitalism that had made it so hard to get by. Turning homes into assets of financial speculation. Wildly profiteering off of every element of our healthcare system. Busting unions so that working people had no collective power. This movement was, in contrast to the right, was explicitly pro-democracy, with a foundational view that in a contest between the 99% and the 1%, the 99% would prevail. And that a win would lead to universal programs like Medicare for All, free college, workplace democracy, and a significant hike in the minimum wage.
On the Republican side, Donald Trump emerged as a political juggernaut at a time when the party was devastated and rudderless, having lost to Obama twice in a row. This weakened state—and the fact that the Trump alternatives were uncharismatic drips like Jeb Bush—created a path for Trump to successfully execute a hostile takeover of the party.
Plus, right-wing populism embraces capital, and so it posed no real threat to the monied interests that are so influential within the party structures.
The Republican donor class was not thrilled with Trump’s chaos and lack of decorum but they did not view him as an existential threat to their class interests
The difference was that Bernie’s party takeover did pose an existential threat—both to party elites who he openly antagonized and to the party’s big money backers. The bottom line of the Wall Street financiers and corporate titans was explicitly threatened. His rise would simply not be allowed. Not in 2016 and not in 2020.
What’s more, Hillary Clinton and her allies launched a propaganda campaign to posture as if they were actually to the left of Bernie by labeling him and his supporters sexist and racist for centering class politics over identity politics. This in turn spawned a hell cycle of woke word-policing and demographic slicing and dicing and antagonism towards working class whites that only made the Democratic party more repugnant to basically everyone.
The path not taken in 2016 looms larger than ever. Bernie’s coalition was filled with the exact type of voters who are now flocking to Donald Trump: Working class voters of all races, young people, and, critically, the much-derided bros. The top contributors to Bernie’s campaign often held jobs at places like Amazon and Walmart. The unions loved him. And—never forget—he earned the coveted Joe Rogan endorsement that Trump also received the day before the election this year. It turns out, the Bernie-to-Trump pipeline is real! While that has always been used as an epithet to smear Bernie and his movement, with the implication that social democracy is just a cover for or gateway drug to right wing authoritarianism, the truth is that this pipeline speaks to the power and appeal of Bernie’s vision as an effective antidote to Trumpism. When these voters had a choice between Trump and Bernie, they chose Bernie. For many of them now that the choice is between Trump and the dried out husk of neoliberalism, they’re going Trump.
Maybe I will be just as wrong as I was about the election but it is my sense that with this Trump victory, authoritarian right politics have won the ideological battle for what will replace the neoliberal order in America. And yes, I think it will be ugly, mean, and harmful—because it already is.
·dropsitenews.com·
Bernie Would Have Won
The Manosphere Won
The Manosphere Won
Trump used these podcast appearances to both humanize and mythologize himself. He used them to launder his extremist positions through the pervasive can’t you take a joke filter that propels the Tony Hinchcliffes of the world to stardom. Most important of all, he used them to get out the vote.
in 2024, shouting to a few thousand true believers has nothing on being anointed by Elon Musk on X and a cadre of right-wing influencers with collective followings in the hundreds of millions.
What Trump and his team understood is that “the discourse,” to whatever extent that means anything anymore, no longer happens in op-ed columns or on The Daily Show or even on Breitbart, and hasn’t for years. Kamala Harris seemingly did not. She did appear on Call Her Daddy, a stratospherically popular podcast with an audience primarily comprising young women, and her campaign enlisted a number of influencers as surrogates. But she skipped Rogan, Lex Friedman, and other mainstream-adjacent marathon podcasts.
the world of conservative influencers dwarfs their liberal counterparts in both follower size and impact. In the same way Democrats never found their own Rush Limbaugh, they don’t have a Steven Crowder or a Ben Shapiro or even, so help us, a Tim Pool. There are Democrats with followings online, but the cumulative gap in people paying attention to what they say is several orders of magnitude wide.
·wired.com·
The Manosphere Won
BRANDS AFTER VIBES
BRANDS AFTER VIBES
what is the future of branding in the age of slop? The provocation for this particular stream of thought was a Tiktok video by brand strategist Eugene about branding in the era of brainrot. This video declares that the age of brands as stories has ended. There are no more ninety second spots that tell a tale, he argues, now there’s only vibe, something more like sentiment or affect – what's picked up in a crowded feed, two or three seconds between footage of catastrophic climate change and a monkey who’s learned to do makeup tutorials. He gives the example of a Twitch stream: it may be too hectic to read the individual posts, but you can monitor the sentiment. You can catch the vibe.
New things – brands, products, trends – are increasingly defined in relational terms to such an extent that they become devoid of any unique story, character, or essence.
Moodboarding as a practice is maxed out. It’s become a nearly absurdist consumer hobby, and it’s part and parcel of our algorithmic reality, targeted yet vague. Similarly, slop can’t be meaningfully curated because there are too many actors, algorithms, and microtrends being expressed simultaneously, in too many automated iterations.
When the brand is a person, an entity with a personality. The idea is that you can hone this personality in order to define your organization better and make more money out in the world. “All organizations have an identity whether they control it or not. A corporate identity programme harnesses and manages this identity in the corporate interest,” Wally Olins wrote.
Brand as story is the other conventional frame that’s been very popular, as mentioned in the Tiktok that kicked this off. This one is all about using things like narrative structure and the hero’s journey to structure the way a brand shows up and communicates, and also using stories as branding opportunities. Brand “lore” is an updated subset of brand as story.
These stories tend to coalesce around a charismatic founder (Tesla and Elon), a social cause (Patagonia and the environment), even a countercultural position (SST records and punk rock). The depth of the lore is directly correlated to brand value. Consumers can become pay-to-play characters of the story.
Brand as pattern is about creating something that shows up iteratively in the world, rather than repeating messages rotely. This has classic examples, like Absolut ads, and more mimetic ones, where users take on the pattern and create the brand themselves
Memes are an advanced form of this practice – everything from Pepe to Brat makes use of this repetition to create flexible and iterative meaning.  Brands that rely heavily on UGC are often related to brand-as-pattern.
Then there’s brand as world, the less eggheaded, more contemporary version of brand as story. Worldbuilding as a brand activity feels intuitively more digital and immersive, less linear than straight narrative.  Many luxury brands employ this practice to help us imagine a world of accessible wealth where people are more beautiful, more free, more actualized. Disney offers an accessible, albeit more fanciful version of this practice – creating an actual destination with its own culture and characters. In either case, the brand is a portal that gives you partial access to an alternative reality.
Brand as coherence is another more philosophical way of looking at brands, one that Nemesis-friend Michael Rock of 2x4 talks about a lot. In this world the brand is the je ne sais quois or x factor that makes everything fit together. It’s the systematic principle itself.  This coherence can be emotional… “When we talk about a strong brand, what we mean is that it consistently delivers the emotion it promises. The most successful brands, or at least the ones everyone emulates, have the knack for using design to produce an emotional coherence that spans from content to product to experience. Think Apple or BMW or Chanel. Not everything has to look alike, but it all has to feel alike. Whenever we encounter them we get that familiar brand sensation. That tingling tells you it's working.” (Michael Rock, Hooked on a Feeling) Or technical… “I know that [branding] is an incredibly distasteful term in cultural and academic organizations, but like it or not branding has become one of the major organizing principles of the world as we know it right now. States have brands, corporations have brands, people have brands, institutions have brands — everyone’s talking about that, and when they talk about brand, they may all be talking about different things, but I think it’s a way of thinking about this idea of assembly…I would say maybe that branding is this act of assemblage that creates seemingly coherent entities.” (Michael Rock, Berkeley design lecture)
there’s the brand as vibes. These are not just brands that have us asking what the there-there is. They’re also brands like Marc Jacobs’ Heaven, which has brought together disparate objects that fit a sort of dreamy Gen Z moodboard to great effect, creating new life for what was quickly becoming a legacy brand. Then there’s A24, perhaps one of the greatest vibe brands of them all.
vibes are something we feel, and have something to do with a sense of recognition or belonging.
In a sense, vibes are procedurally generated, created by following resonant patterns and associations rather than by directly expressing new ideas or unique sentiments. The value assigned to brands built on vibes is similarly transitive – if you like X you will probably like Y.  In the best cases, a brand can create and embody its own ineffable vibe that imbues all of its products and endeavors with a sense of magical value. Seeing the new A24 film is more about experiencing a new iteration of the brand than it is about the movie’s actual plot, cast, or story. Fans want to see a particular sensibility applied to the world around it.
When a brand is a person, you have an emotional connection with them (they also have rights: see Citizens United). When it's a story, it entertains you and holds your attention. When a brand is a world, there's immersion and escape. When it's a pattern, you can replicate it and play with it.
With all this in mind, the key to successful brands after vibes may be in creating... something dense and irrefutable: a brand that flaunts itself as proof of work, that makes clear the amount of real information and human effort that went into creating it, that can’t become blurry. The brand is labor itself, a direct expression of the work that produces it. something exceptionally simple – logo only, that is, just one coordination point…or better yet, a ticker, a single letter, a point of pure speculative energy. Something so singular it can’t be spun off into iterations, but due to its singularity, can freely attach to and feed itself by anything and everything. The brand is an atom, a particle, a single-cell organism. something like dazzle, the makeup that helps a face escape facial recognition software: something so incoherent it can't be read by the model or algorithm, something that cannot be expressed as or compressed into a vibe.  In  this case, the brand is noise, something rule breaking that jams an orderly system of meaning / value.
·nemesisglobal.substack.com·
BRANDS AFTER VIBES
Nike: An Epic Saga of Value Destruction | LinkedIn
Nike: An Epic Saga of Value Destruction | LinkedIn
Things seemed to go well at the beginning. Due to the pandemic and the objective challenges of the traditional Brick & Mortar business, the business operated by Nike Direct (the business unit in charge of DTC) was flying and justifying the important strategic decisions of the CEO. Then, once normality came back, things slowly but regularly, quarter by quarter, showed that the separation line between being ambitious or being wrong was very thin.
In 6 months, hundreds of colleagues were fired and together with them Nike lost a solid process and thousands of years of experience and expertise in running, football, basketball, fitness, training, sportwear, etc., built in decades of footwear leadership (and apparel too). Product engine became gender led: women, men, and kids (like Zara, GAP, H&M or any other generic fashion brand).
Consumers are not so elastic as some business leaders think or hope. And consumers are not so loyal as some business leaders think or hope. So, what happened? Simple. Many consumers - mainly occasional buyers - did not follow Nike (surprise, surprise) but continued shopping where they were shopping before the decision of the CEO and the President of the Brand. So, once they could not find Nike sneakers in “their” stores – because Nike wasn’t serving those stores any longer -, they simply opted for other brands.
Until late 2010s, Nike had been on a total offense mode (being #1 in every market, in every category, in every product BU, basically in every dimension), a sort of military occupation of the marketplace and a huge problem for competitors that did not know how to react under such a domination. The strategic focus was only one: win anywhere. The new strategy determined the end of the marketplace occupation. Nike opened unexpected spaces to competitors, small, medium, or large brands (with exception of the company based in Herzogenaurach, that – as they usually do - copied and pasted the Nike strategy and executed it in a milder format).
One of the empiric laws of business says that online, the main lever of competition is “price” (as the organic consumer funnel is built on price comparison). The proverbial ability of Nike to leverage the power of the brand to sell sneakers at 200$ began to be threatened by the online appetite for discounts and the search for a definitive solution to the inventory issue. Gross margin – because of that – instead of growing due to the growth of DTC business, showed a rapid decline due to a never-ending promotional attitude on Nike.com
Nike has been built for 50 years on a very simple foundation: brand, product, and marketplace. The DC Investment model, since Nike became a public company, has been always the same: invest at least one tenth of the revenues in demand creation and sports marketing. The brand model has been very simple as well: focus on innovation and inspiration, creativity and storytelling based on athletes-products synergy, leveraging the power of the emotions that sport can create, trying to inspire a growing number of athletes* (*if you have a body, you are an athlete) to play sport. That’s what made Nike the Nike we used to know, love, admire, professionally and emotionally.
What happened in 2020? Well, the brand team shifted from brand marketing to digital marketing and from brand enhancing to sales activation.
shift from CREATE DEMAND to SERVE AND RETAIN DEMAND, that meant that most of the investment were directed to those who were already Nike consumers
as of 2021, to drive traffic to Nike.com, Nike started investing in programmatic adv and performance marketing the double or more of the share of resources usually invested in the other brand activities
the former CMO was ignoring the growing academic literature around the inefficiencies of investment in performance marketing/programmatic advertising, due to frauds, rising costs of mediators and declining consumer response to those activities.
Because of that, Nike invested a material amount of dollars (billions) into something that was less effective but easier to be measured vs something that was more effective but less easy to be measured.
To feed the digital marketing ecosystem, one of the historic functions of the marketing team (brand communications) was “de facto” absorbed and marginalized by the brand design team, which took the leadership in marketing content production (together with the mar-tech “scientists”). Nike didn’t need brand creativity anymore, just a polished and never stopping supply chain of branded stuff.
He made “Nike.com” the center of everything and diverted focus and dollars to it. Due to all of that, Nike hasn’t made a history making brand campaign since 2018, as the Brand organization had to become a huge sales activation machine.
·linkedin.com·
Nike: An Epic Saga of Value Destruction | LinkedIn
Why Are Debut Novels Failing to Launch?
Why Are Debut Novels Failing to Launch?
The fragmented media environment, changes in publicity strategies, and the need for authors to become influencers have made it harder for new voices to break through.
Last fall, while reporting Esquire’s “Future of Books” predictions, I asked industry insiders about trends they’d noticed in recent years. Almost everyone mentioned that debut fiction has become harder to launch. For writers, the stakes are do or die: A debut sets the bar for each of their subsequent books, so their debut advance and sales performance can follow them for the rest of their career. For editors, if a writer’s first book doesn’t perform, it’s hard to make a financial case for acquiring that writer’s second book. And for you, a reader interested in great fiction, the fallout from this challenging climate can limit your access to exciting new voices in fiction. Unless you diligently shop at independent bookstores where booksellers highlight different types of books, you might only ever encounter the big, splashy debuts that publishers, book clubs, social-media algorithms, and big-box retailers have determined you should see.
BookTok—er, TikTok—is still considered the au courant emergent platform, but unlike Instagram and Twitter before it, publishers can’t figure out how to game the algorithm. “It’s a wonderful tool, but it’s an uncontrollable one,” Lucas says. As opposed to platforms like Twitter and Instagram, on which authors can actively post to establish a following, the runaway hits of BookTok (see: The Song of Achilles) grew from influencer videos.
These days, “in order to get exposure, you have to make the kinds of content that the platform is prioritizing in a given moment,” Chayka says. On Instagram, that means posting videos. Gone are the days of the tastefully cluttered tableaux of notebooks, pens, and coffee mugs near a book jacket; front-facing videos are currently capturing the most eyeballs. “A nonfiction author at least has the subject matter to talk about,” Chayka says. (Many nonfiction writers now create bite-size videos distilling the ideas of their books, with the goal of becoming thought leaders.) But instead of talking about their books, novelists share unboxing videos when they receive their advance copies, or lifestyle videos about their writing routines, neither of which convey their voice on the page. Making this “content” takes time away from writing, Chayka says: “You’re glamorizing your writer’s residency; you’re not talking about the work itself necessarily.”
“Energy tends to attach itself to wherever energy is already attached,” Lucas says. “Fewer debuts have a chance of really breaking through the noise in this climate, because all of the energy attaches itself to the ones that have made it past a certain obstacle.” In some cases, the energy starts building as early as when a project is first announced.
Because staff publicists at publishing houses must split their workload among several authors, there is an expectation that an author will now spend untold hours working as their book’s spokesperson.
The agent at the talent firm describes a “one strike and you’re out” mentality, with some authors getting dropped by their agents if their debut doesn’t sell well.
But one positive development amid this sense of precarity is the rise of the literary friendship. “On social media,” Isle McElroy wrote for this magazine in September, “writers are just as likely to hype their peers as they are to self-promote: linking where to buy books, posting photos of readings, and sharing passages from galleys.” There is now an all-ships-rise mentality among authors at every career stage, but particularly among first-time novelists. Now networks of writers are more important than ever.
When it was time to ask other writers for blurbs for The Volcano Daughters, Balibrera had friends who were excited to boost the book, but she could also rely on other writers who remembered her from Literati. “There was goodwill built up already,” Gibbs says.
·esquire.com·
Why Are Debut Novels Failing to Launch?
HouseFresh disappeared from Google Search results. Now what?
HouseFresh disappeared from Google Search results. Now what?

Claude Summary - HouseFresh's Battle Against Google's Algorithm and Big Media Dominance

Key takeaway

HouseFresh, an independent publisher, has experienced a dramatic 91% loss in search traffic due to Google's algorithm changes, which favor big media sites and product listings, prompting them to adapt their strategy and fight back against what they perceive as an unfair digital landscape dominated by manipulative SEO tactics.

Summary

  • HouseFresh published an exposé in February 2024 warning readers about untrustworthy product recommendations from well-known publications ranking high in Google search results.

  • The article explores tactics used by big media publishers to outrank independent sites, including:

    • Dotdash Meredith's alleged "keyword swarming" strategy:

      • Identifying small sites with high rankings for specific terms
      • Publishing vast amounts of content to push competitors down in rankings
      • Leveraging their network of websites to dominate search results
    • Forbes.com's expansion into pet-related content:

      • Publishing thousands of articles about pets to build authority in the space
      • Creating statistics round-ups to encourage backlinks
      • Using this content to support pet insurance affiliate marketing
    • Legacy publications being acquired and repurposed:

      • Example of Money magazine being bought by Ad Practitioners LLC
      • Shifting focus to intent-based personal finance content surfaced from search results
      • Expanding into unrelated topics (e.g., air purifiers, garage door openers) for affiliate revenue
    • Use of AI-generated content by major publishers:

      • Sports Illustrated and USA Today caught publishing AI-written content under fake author names
      • Outsourcing to third-party providers like AdVon Commerce for commerce content partnerships
      • Layoffs of journalists while increasing AI-generated commercial content
  • Google announced a "site reputation abuse" spam policy update, effective May 5, 2024, aimed at curbing manipulative search ranking practices.

  • HouseFresh experienced a 91% loss in search traffic following Google's March 2024 core update.

  • The author criticizes Google's current search results, noting:

    • Prevalence of generic "best of" lists from big media sites
    • Abundance of Google Shopping product listings (e.g., 64 product listings for a single query)
    • Lack of specificity in addressing user queries (e.g., budget-friendly options)
  • HouseFresh disputes various theories about why they've been demoted in search rankings, including:

    • Use of affiliate links
    • Conducting keyword research
    • Not being an established brand
  • The article suggests Google Search may be "broken," potentially due to:

    • The merging of Google Ads and Search objectives
    • Changes in leadership, with the Head of Google Ads taking over as Head of Google Search in 2020
  • HouseFresh plans to adapt by:

    • Focusing on exposing scam products and critiquing big media recommendations
    • Expanding their presence on various social media and content platforms
    • Leveraging Google's emphasis on fresh content to maintain visibility
    • Using Google's own broken results to get their takedowns in front of people
  • The author expresses frustration with the current state of search results and advocates for a more open and diverse web ecosystem.

  • HouseFresh remains committed to producing quality content and fighting for visibility despite the challenges posed by Google's algorithm changes and the dominance of big media tactics.

Through this strategy, Dotdash Meredith allegedly identifies small sites that have cemented themselves in Google results for a specific (and valuable) term or in a specific topic, with the goal of pushing them down the rankings by publishing vast amounts of content of their own.
“IAC’s vision for Dotdash Meredith — to be a flywheel for generating advertising and commerce revenue — is finally starting to pan out.  […] More than 80% of Dotdash Meredith’s traffic and digital revenue come from its core sites, such as Food & Wine, Travel & Leisure, and Southern Living, that deliver a form of what one might think of as commerce-related service journalism.” — Allison Schiff, managing editor of AdExchanger
To give the pet insurance affiliate section of Forbes the best chance to succeed, the Forbes Advisor team pumped out A LOT of content about pets and built A LOT of links around the topic with statistics round-ups designed to obfuscate the original sources in order to increase the chances of people linking to Forbes.com when using the stats
All this hard work paid off in the form of an estimated 1.1 million visitors each month to the pet insurance section of Forbes Advisor
This happened at the expense of every site that has produced content about dogs, cats, and other pets for many years before Forbes.com decided to cash in on pet insurance affiliate money.  They successfully replicated this model again and again and again across the huge variety of topics that Forbes covers today.
Step one: buy the site. Step two: fire staff. Step three: revamp the content strategy to drive new monetizable traffic from Google
“As a journalist, all of this depresses me,” wrote Brian Merchant, the technology columnist at the Los Angeles Times. He continued, “If journalists are outraged at the rise of AI and its use in editorial operations and newsrooms, they should be outraged not because it’s a sign that they’re about to be replaced but because management has such little regard for the work being done by journalists that it’s willing to prioritize the automatic production of slop.”
Here’s a recap so far: Digital media conglomerates are developing SEO content strategies designed to out-publish high-ranking specialist independent publishers. Legacy media brands are building in-house SEO content teams that tie content creation to affiliate marketing revenue in topics that have nothing to do with their original areas of expertise. Newly created digital media companies are buying once successful and influential blogs with the goal of driving traffic to casino sites. Private equity firms are partnering with companies like AdVon to publish large amounts of AI-generated content edited by SEO-focused people across their portfolio of media brands. And here’s the worst part: Google’s algorithm encourages all of them to rinse and repeat the same strategies by allowing their websites to rank in top positions for SEO-fueled articles about any topic imaginable. Even in cases when the articles have been written by AI and published under fake authors.
·housefresh.com·
HouseFresh disappeared from Google Search results. Now what?
What Makes Women Clean
What Makes Women Clean
Earlier this month, the Gender Equity Policy Institute released a new analysis of the 2022 Time Use Survey, administered by the U.S. Bureau of Labor Statistics. The Time Use Survey is not perfect or granular, but it’s widely understood as the best and broadest data set of how Americans allocate their time. The survey asks respondents where and how they worked, how much time they allocated to childcare and/or domestic tasks, and how many hours were dedicated to “leisure.” You can take a closer look at the survey methodology and results here — and while they do breakdown results by race, age, income, education level, marital status, occupation, and number of children in the household, they do not distinguish between heterosexual and queer relationships (and also divide gender as male or female)….which means this analysis does not account for how queer relationships, in so many meanings of the word, fit into this larger analysis. With that said — the findings are stunning.
women spend more than twice as much time allocated to household work than men, even when they are single or do not have children. And getting married doesn’t split the load for women, as it theoretically would, but increases it: married women without children still do 2.3 times as much housework labor as their husbands.
men just had to hunt, but women back at the cave had to tend fires and care for kids and tan animal hides blah blah blah etc etc etc. These narratives make the nonsensical make sense: how else would you explain dramatically different approaches to cleanliness that seem to be fairly neatly divided by gender? It has to be biological, otherwise, well, women have just been caring about things that ultimately matter very little for centuries.
this particular argument falls apart when you consider women who aren’t “naturally” good at cleaning, or multi-tasking, or even caregiving — or just don’t like it. (Hello, all the ADHDers in my DMs also responding to these stats). Within this framework, the only way to conceive of these women is as faulty specimens: people who would be weeded out by natural selection. And yet somehow these people are still here, being women!
“Everything we call a sex difference, if you take a different perspective — what’s the power angle on this — often explains things,” neuroscientist Lise Eliot tells Darcy Lockman in All the Rage. “It has served men very well to assume that male-female differences are hard-wired.”
cleaning can be pleasurable the same way that popping a zit is pleasurable. It’s gross but oddly cathartic to erase abjection and mess, or to create order out of chaos. But you cannot separate the pleasures of degreasing the stove top from the pleasures of successfully meeting the demands of proper performance of womanhood. It’s like people who say they “just like being thin.” So much of why you like it is because it grants you societal power.
men can clean! I know men who are good at it, who take pleasure in it, who are also excellent noticers and multitaskers — and almost all of them were either 1) raised by single mothers or 2) spent time in the military. They were socialized, over an extended period, to understand cleanliness and multi-tasking as essential — with personal and social consequences if they did not.
“When people come over and our house is a mess, I feel this reflects badly on me as a person, adult, wife, and mother. My husband doesn't feel that at all,” a reader named Leah told me. “My father-in-law once told my husband he wished our house was cleaner when he comes to visit (don’t get me started). So now I scour the place top to bottom. My husband just shrugs and says: whatever, my dad can deal with it. The same applies to our kid. My husband can send him to school in ripped, dirty, or too-small clothes and not worry what people will think of him and his parenting skills. Me? I’m worried they are about to call CPS on us.”
if you’re “safe” being bad at womanhood — you can blow off societal repercussions. But a messy or dirty domestic space intersects with so many other stereotypes of class, race, education level, body size, and marital status. “My grandma grew up extremely poor in the South and I’ve always felt there was a strong class element to her standard of cleanliness,” a woman named Aimee told me. “Like even if you had no money, get a broom and a rag because you at least need a clean house.”
Or: a single woman can have a dirty apartment if she’s a hot, dirty mess; take away the hot thinness and she’s just a slovenly cat lady spinster.
I don’t think most people believe this! Yet these understandings endure, asking women to feel like failures or oddities, setting up shop in our relationships and slowly festering.
It is tremendously hard to divest from a way of understanding your own value in the world — and, by extension, others.
Men are socialized to see their spaces as utilitarian, spaces that serve them. Women, we serve our spaces.”
We can attempt, as a society, to socialize boys and men to be more clean, to notice more, to multitask more, to spend more time on domestic tasks and to allocate less time to leisure. We can teach men that their value (and their morality) is also rooted in their capacity to maintain a clean home: that they should also serve their spaces.
some of this work has happened: men in their 30s and 40s today do more domestic labor than their grandparents or great-grandparents did. But the gender discrepancy in domestic labor closed and closed and then….got stuck at a 65/35 split, and hasn’t budged in years.
The math just doesn’t math when it comes to domestic labor. When dads start allocating more time to parenting, it doesn’t subtract from the time moms spent parenting. When women leave the home to work for pay, the number of hours they allocate to domestic tasks doesn’t decrease, as one might assume, but goes up. If men do more, women still…..do more.
If you feel bound by these expectations: what would it take to free you? Because when I survey the hundreds of responses that arrived in my DMS when I posted the stats above, what I felt most was fatigue. Just look in the fucking drawer, is that where the bras go??? one woman wrote. God I’m so tired.
I’m always suspicious of arguments that ask anyone who’s subjugated, in some way, to do more. But in this case, the work is difficult, particularly for bourgeois women, because the work feels like something we’re so rarely asked to do: less.
At my grandmother's funeral, literally every single speaker talked about how much she loved her...house. How much care she put into it, how it was the joy of her life and source of her identity. When I was a kid, there was "clean" and there was "grandma clean". And after my mother died and I was rocked by grief, my grandmother attempted to console me by suggesting it wasn't that big of a loss because my mom (her daughter-in-law) wasn't a good housekeeper. (My mom was working full time, had four kids at home, and was literally dying.) I was so angry with my grandmother I barely every spoke to her again, and then at her funeral listening to everyone talk about her love of her house (!!) drove home what a waste of a life that was. She could have been kind. She could have been kind to my mom, who'd lost her own mother and was struggling. She could have been kind to me, her grand-daughter who was grieving. She could have had a life that meant something, but instead she focused on her house, which she saw as an extension of herself, and serviced her own pride and vanity. What a WASTE.
I feel like I am constantly drowning in a sea of paperwork/phone calls/emails - fighting with our health and dental insurance, calling contractors/plumbers/etc to do things for our house, filling out new tax paperwork. Not to mention fielding the barrage of spam emails/calls. I feel like this kind of stuff has expanded exponentially and I can’t tell if it’s just me, but it feels like every single one of these is a fight - someone sent the wrong paperwork to us, so I have to fill it out again; the insurance company makes a mistake on the claim and I have to file an appeal and follow up on it; contractor says they’re going to do something, doesn’t do it completely, and I have to fight to get them to come finish the job they agreed to. I get that we are all stretched so thin & distracted, but I am exhausted by trying to keep up with the apparently “essential” stuff of modern American adulthood
·annehelen.substack.com·
What Makes Women Clean