There’s an interesting parallel between the rise of guys like Elon Musk, the Trump presidency, and the simultaneous adoption of and enthusiasm behind AI—it’s the dawn of a new era of the con.

Whether it was Lee or Bernays who created modern day public relations doesn’t matter so much as the effect they’ve had on the world because of it. Advertising is one thing, but the idea of PR and manipulating social dialogues around everything—as opposed to just products or investments—has brought us all to this era of un-reality in the west.

Taking a look at Musk, for all who laud him, he has not actually built anything. He doesn’t know anything about cars or rockets, he purchased the assets that have built his wealth (or built them on government subsidies while being ‘anti-socialism’). He’s no inventor, shows no capacity for innovation or vision for the future. He’s just a shrewd capitalist (and a pretty big fucking idiot). Trump may have made some real estate dealings in the past but is notorious for fucking over workers (as well as lying about, well, more than I can link to). These are men who keep their heads above water because of how American culture has adopted public relations on the thoroughfare of public debate.

Yet these men are lauded by many for their ‘leadership.’ Wealth supersedes any questions in relation to morality, justice, equality, or even legality. It’s repugnant.

Drawing Lines

Somewhere along the line, the idea of what you make of yourself became less important than how what you make of yourself represents the capitalist ideal. Social intangibles like respect and dignity and honor have long evaporated from the air we now collectively breathe, and everything is about money and power. Being a shitty person has a proportional relationship to how much money you have at your disposal to ride out any negative news cycle that might carry your name with it. Do we really think Mark Zuckerberg will be affected by the fact his superyacht didn’t help a boat in need?

And so a new age of deceit is upon us. It’s no wonder that the people largely associated with these ideas also adopt AI so completely—to them, cutting corners for financial reasons is more important than any natural, human process. Art does not matter to these people—creation is an inconvenient step in the process of financial viability. Existence, and its potential, are secondary concerns to capital gains.

The MBA idea that everything is business has overwhelmed our relationship with inspiration. Labor is no longer about meaning something, it’s about cost-effectiveness. These people have adopted the idea that financial equations are more important than human endeavors, and so aesthetic (or any constructed) results that suit any need of production are more important than creative processes.

Losing It

This is a cancer upon humanity. I’m not saying that every use of AI is bad, or that every statement to the media is a lie, or that every businessman is a crook. But we have entered an era where the potential truth of the internet has been consumed by the dishonest nature of advertising—and along with it, those who profit are becoming shells of human beings who are only icons of wealth, shedding all other traits in regards to empathy, kindness, dignity, respect, or honor. They are the scum of the earth infecting growing swaths of the population with this grotesque self-centered outlook that defeats the purpose of our collective existence.

Capitalism is beyond an economic crime, it is the death knell of what makes people a part of the natural world. With the technological advancements we’re developing now, if it remains as influential as it has been over the past couple centuries, we are certainly doomed to lose a majority of our civilization to completely inhuman ways of being.

Never trust a liberal. The whole Vote Blue No Matter Who schtick has always been a joke, as the DNC has always had more interest in keeping leftist interests at bay than actually defeating anyone on the right. As The New York Times outlines:

“We are preparing for the next war that is coming,” said Jonathan Cowan, the president of Third Way, a leading centrist Democratic group, revealing to The New York Times a new $15 million effort between now and 2028 to discredit democratic socialism.

Politics have been relatively mask-off since the second Trump election, even though the Democrats aligned in both 2016 and 2020 to stifle the campaigns of Bernie Sanders—those were never really discussed. Now, at least, they admit they fully consider anything to the left of market-based neoliberalism as big of a threat as the far-right.

Though this has been pretty common knowledge for anyone left of fascism for some time, I’m glad democrats are now openly admitting this type of political alignment so I can scoff at anyone who tells me that not voting for one of them in any future election is a wasted vote. Liberalism has always enabled this country’s drift into what it is now and there’s no way to have a conscience and support it any longer.

Richter and Key, in a photo that totally makes Key look fatter than she is (I doubt she will mind)

Sometimes I get half-heartedly resentful at these two because owning cats means I can’t just leave my world behind and move to Slovenia on a dime, but then one of them does something funny and my plans to abandon America fade.

I’ve known since I was young that I always wanted cats—and, later on, maybe some goats—as opposed to kids, and I think that’s an okay thing to admit. Children aren’t for everyone (and not that pets are, either—it’s all just preference).

on behalf of a ghost cover art

The first of a few sound-related projects I’ll be associated with this fall, the new ad lucem ‘single,’ on behalf of a ghost (two tracks, but each are over ten minutes long) we’re releasing ahead of a new full-length is out now. This is lengthy, spatial music that flows between textural patterns and gain stages.

Of all the creative professions, acting is the one I have the hardest time reconciling an appreciation for. It’s not directly the fault of actors, but the culture of celebrity that has grown out of Hollywood and infected so much of how the United States operates—I mean, so much in this country is factored around fame and notoriety. While it’s not the fault of any one actor, the entire cultural phenomenon of the ‘movie star’ and its impact on the rest of us is grotesque and makes me feel the people who actually vie for that title are akin to those running for Prom King and Queen of the arts.

That being said, every now and then an actor comes along who is just so good that any fame they pick up along the way only seems fitting. Actors like Phillip Seymour Hoffman (RIP), Meryl Streep, and Daniel Day-Lewis are among names where it’s like, sure, they’re famous, but their fame is a byproduct of their talent. With the new trailer for Primetime coming out today, it’s pretty obvious that now Robert Pattinson is coming up to place his name among that list.

The irony being, of course, that this guy got his start as part of a giant teenybopper IP vampire franchise—but has since done outstanding character studies across a slate of independent stalwarts (a doomed brother in Good Time, a philosophical capitalist in Cosmopolis, an insane drunk in The Lighthouse, a dreamer in Maps To The Stars, a lost husband in Die My Love) as well as taking on giant blockbusters in ways that aren’t necessarily straightforward leading-man approaches (a reserved Bruce Wayne in The Batman, a fine-with-playing-second-fiddle operative in Tenet, the weird cloned double-lead of Mickey 17).

Then you have the four films he’s doing this year—leading roles in Primetime and The Drama and supporting roles in The Odyssey and Dune Part Three. Four wildly different roles in four films that are all going to make one year-end of list or another.

To me, there’s the impressive talent for sure, but another thing to look at is how an artist chooses their path. A guy that looks the way Pattinson does could have taken the Ryan Reynolds route and starred in the same generic romantic comedy year after year, stacking up paychecks and interviews with Seventeen magazine. Instead, he opted for challenging and particular roles generally backed by interesting writing and good collaborators—all the tell-tale signs of what makes acting and working in film or theater fun to begin with.

In an age where too many big names are cashing in on multi-film Marvel contracts, it’s good to see movie stars exist for people who actually love the movies. It’s important to see artists who have achieved success continue to push themselves deeper into craft, and hopefully that will inspire the next generation to not just adopt the idea that IP or AI green-screen slop cash-outs are the best way forward.