Jumping Jacks For Clicks

There’s been a lot of discussion this month about what it takes to be heard as a musician in 2026. Eliza McLamb’s article on digital marketing agency Chaotic Good went viral, drawing commentary from musicians about the wider implications of their “fake fans” marketing strategy. Hiroki Tanaka’s Reddit post about his album’s failed PR campaign was picked up by Stereogum, stimulating further debate. We’re about to embark on our own DIY PR campaign for our forthcoming album and it’s hard to know what, if anything, will make anyone actually listen to it. The PR landscape for musicians has changed radically in recent years, how should artists approach music marketing in 2026?

Fandom as contagion

When Eliza McLamb heard this interview with the founders of Chaotic Good Projects on Billboard, she was shocked to discover that an artist and track she thought was her own “perfect, beautiful little secret” actually came from them as a part of a “narrative campaign”.

“I thought this was the kind of thing that was only deployed in service of mass-market, commercial pop... But [Chaotic Good’s] roster runs deep, far past the predictable internet sensations one could expect... Geese and Cameron Winter, but also Dijon and Mk.gee. Laufey and Wet Leg. Oklou and Jane Remover.”

Chaotic Good works by, in their own words, “controlling the discourse”.

“I think in the past, let’s say like a label and a management team do a great job. They get their artists on SNL or Tiny Desk or Triple J or something like that. Then they post it and then they kind of wait for the comments […] what we do at Chaotic and with our management clients is, the second SNL drops at midnight, you should post a hundred times saying that was the best performance of the year.”

Chaotic Good doesn’t just share content, it creates accounts to respond to that content and simulate trends, which will ideally snowball into real, organic users jumping on the trend and amplifying it. They’re simulating until the simulation becomes real.

It’s different from the traditional method of “the waterfall” release and media saturation. Share music incrementally over a long period of time through as many channels as possible, get articles written, pay for plays, do tours, be omnipresent. But people aren’t using traditional media to find music anymore, they use social media. And they don’t even watch the content themselves, they read the comments to gauge the value of something. Chaotic Good point this out in their interview:

“I think most people see a video or see something about an album that came out and it’s like the first thing that they see or that first comment that they see is their opinion even when they haven’t heard the whole album.”

In behavioural psychology this is known as social proof. Part of what made Eliza McLamb’s article go viral is the way it exposes how our behaviour is manipulated by the marketing machine. We know about propaganda but for some reason assume social media is immune to this kind of manipulation. We think we’re interacting with real people online, people we subconsciously infer guidance from, but we’re not. Much of what we see has been infiltrated by external agents to shape a particular opinion.

However, the underlying issue is not just the fact that the opinions we thought were our own have been subtly shaped by an expensive machine, it’s that if artists today can’t afford to pay for that expensive machine, no one will hear their music.

The False Promise Of The Social Media Democracy

Once upon a time there was a social media platform called MySpace. It gave everyone their own web page connected to other MySpace users. They could customize it to look however they wanted, people could comment, and send messages to each other. There were no ads. There was no algorithm. Just the free flow of information.

Many bands in the ‘00s blew up because of MySpace. Arctic Monkeys, Lily Allen, Calvin Harris, to name a few. Our very own Chris Black’s previous band Katsen landed record deals through MySpace. The early days of social media are responsible for the persistent myth of going viral then making lots of money. The two halves of that equation have never been more disconnected.

MySpace succumbed to algorithm-driven platforms and the gatekeeping emerged again, this time with the tech titans controlling the interactions between musicians and fans. I remember discovering for the first time that even though we had a few hundred followers on Facebook, they wouldn’t see our posts unless we paid to “boost” them. That was just the beginning.

As the algorithms evolved, the content that rose to the top was not just the most liked and shared but the most consistently and frequently posted. To be seen on social media one has to spend hours, daily, posting and engaging in other people’s content. Most artists don’t want that job and moreover, don’t have the capacity. Kamola Atajanova of Tape Wounds articulates it perfectly in their response to the Chaotic Good furore:

“Not every artist is built for social media. Not every artist wants to make their life into a performance. Some people are better at writing songs than posting clips. Some people’s work comes from privacy, patience, or introspection. That should not make them less valid. But this system does make them less visible. It filters them out before the music even has a chance. So when people say “it’s just marketing,” what they really mean is: this is the cost of entry now. And that’s exactly what makes it feel so hostile. Not everyone can afford that cost. Not financially, not creatively, not psychologically.”

Hiroki Tanaka’s candid Reddit post about the failure of his “by the book” album PR campaign sparked a wave of recognition across the music world. After two decades in music and awards with his previous band he decided to release his solo album, his “last hurrah”, with management, a label, and a professional PR campaign. He even started a TikTok account posting show videos, behind the scenes and goofy memes all around managing a job and family life.

Tanaka watched the release arrive after eight months of promotion to little more than “a weak trickle” of attention. For most musicians, Tanaka’s story didn’t feel exceptional, it felt familiar.

“I was told, under no uncertain terms, that my lack of a social media presence and streaming metrics meant that certain media outlets that had reviewed my work (highly, I might add) in the past could no longer spend money on paying a writer and editor to review my work… I would have preferred if they had said they didn’t like my album. Being rejected because of my metrics is a slap in the face for art.”

Social media has become the driving force behind a release, and while it is accessible to anyone, there’s actually a huge price to pay in both time and mental health. The volume of content required to feed it is beyond most musicians, who are generally holding down full time jobs to survive. The underlying purpose of all this extra content is to feed a machine, and it doesn’t feel good dedicating your precious little free time to feeding a machine.

Jumping Jacks For Clicks

Soon after reading Tanaka’s post, we got an email from YouTube Creators prompting us to “Get Creative With Goals” on our livestreams.

They’re encouraging us to “set goals that encourage your community to collaborate,” and suggest celebrating those goals by “doing something unexpected – whether that’s jumping jacks, making up a song, or playing a prank.”

Yes, you read that correctly. YouTube is telling artists that the path to success involves performing arbitrary physical tasks to generate engagement.

It’s sad how often life imitates an episode of Black Mirror these days but this is almost exactly the scenario in season seven’s episode “Common People”. A man who needs money for an enshittified service ends up performing increasingly degrading stunts on a streaming platform for money. What was meant as dystopian satire has become platform policy. [...]

What Comes Next?

We may be reaching an inflection point. As McLamb notes, the more ubiquitous manufactured virality becomes, the more artists will resist it entirely, pulling back from streaming and social media in favour of hyper-local, scene-based growth. A return to the tangible, the real, the unmediated.

While this sounds good in theory, it’s probably not going to work for unusual artists in small towns. They’d have to go to a city to have more of a chance of finding their people, and with the cost of living, moving to a city isn’t possible for everyone. By the time I left London in 2009 all the artists I knew were leaving, it just wasn’t sustainable anymore.

The problem is systemic. Musicians don’t typically make a living from their music. This means their time is diverted to day jobs. Their dwindling leisure time is necessary for making and performing music. There isn’t time to also produce a volume of “content” for social media. On top of that the mental health cost of interacting with addictive apps as a performing monkey is not appetising. This creates a class system in the music industry. There are those who can afford to pay to be heard and those who can’t. And those who can’t are either paying with their souls, or they’re opting out altogether and not being heard at all.

by Battery Operated Orchestra and Brigitte Rose, Bandmade |  Read more:

Images: uncredited/YouTube 

[ed. Works for some, not for others. Which, I guess is the point. The algorithm is selecting for a certain type of musician, not necessarily the best. That YouTube email really says everything you need to know about their business model, doesn't it?]

Bad Lunch

April 1999, one o’clock in the afternoon. I was cooking on the 150-foot motor yacht The Rental Cow when Megan, our chief stewardess, swooped into the galley to tell me our guests were displeased with their lunch.

“What’s wrong?” I asked.

“I don’t know,” she said. A petite, blond Australian who often made bawdy jokes, she didn’t wear her usual smile. Instead she looked slightly frightened, which told me this was no ordinary complaint. Our two guests were paying $30,000 a day to sit on the top decks and take in the Mediterranean views. Like every set of guests on board that yacht, this couple needed the food to be perfectly suited to their tastes, which caused me hours of nail-biting anxiety as I sent up plate after plate, taking note of what they devoured or ignored.

It was the midpoint of their sixteen-day trip. Ten of their friends had departed that morning, and we expected ten more to arrive in a few hours.

“Should I go up?” I asked.

Megan nodded, and I threw off my apron and scaled the stairs two at a time. We were tied to a dock in Saint-Tropez, a coastal city in the south of France known for its beaches and fancy nightclubs frequented by celebrities.

Our guests, Mr. and Mrs. J., were seated on the upper aft deck, murmuring to one another over untouched plates of sweet potato gnocchi. Mrs. J. was statuesque, with pale skin and red-orange hair that fell like a cape over her shoulders. She looked like a hippie version of Nicole Kidman. Mr. J. was a silver-haired music-industry executive who exuded wealthy chic with his funky sunglasses and pastel, high-water slacks.

Mrs. J. smiled at me: a cold curl of the lips. Then she launched in, explaining she was disappointed—not just in her lunch but in me.

“We’re paying a lot of money to rent this yacht,” she said, enunciating like royalty with a Los Angeles accent. “We’ve had a terrific go of it until now, don’t you think? All week long your food has been exquisite. This should have been the easiest lunch, not the most disgusting. Why didn’t you just come talk to us?”

By now I had my hands behind my back, my body bent toward her in a gesture of contrition. Thankfully she kept talking, so I didn’t have to speak. At one point Mr. J. held his hand out flat in the air as though pushing Mrs. J.’s argument down—a gesture she appeared familiar with, as she cinched her lips.

“Let’s do a reset,” Mr. J. said. “How about you clear these plates? My wife mentioned she’d be happy with a simple green salad: lettuce, tomatoes, carrots—”

“GREEN ONION,” she interjected.

Mr. J. ignored her. “I’ll have a plate of prosciutto and some of your homemade baguette. And a small dish of your mustard dressing. Do you think you can handle that?”

It was not a question. He’d spoken breezily, but there was enough of an edge in his voice to serve as a warning. Despite all the special handling I’d provided that week—ninety hours of catering to their every culinary need—I was not forgiven. 

Once upon a time, in another life, I had sat on a green shag carpet as close as possible to the television to watch The Love Boat, a show about crew members on a cruise ship with a revolving roster of celebrity guest stars. I especially loved the unflappably cheerful cruise director, Julie McCoy. Another show I watched religiously growing up was Lifestyles of the Rich and Famous, hosted by nasal-voiced Brit Robin Leach, who escorted viewers through the properties of the extravagantly wealthy.

At the time, my family lived in rural Washington State, in a double-wide trailer on a crabgrass lot. We’d never been flush with money, but after my parents’ divorce, my mother would agonize each month about where to spend her meager funds: on gas and electric bills or groceries? She hunched over her checkbook, lips puckered with worry. We lived in a perpetual state of panic over having zero dollars. The fear had a metallic scent that lingered in my nose long after I climbed into bed. For a while we had food stamps in the drawer, but my mother was too ashamed to use them. That she could choose not to indicates a certain degree of financial stability, but a child doesn’t distinguish between being cash poor and being unable to pay the rent. And even with grandparents volunteering to purchase school clothes, I marinated like a pickle in that atmosphere of scarcity, walking a thin line between my hunger to consume and my management of that hunger, always thinking of the costs.

My mother didn’t like to cook, so I learned my way around the kitchen. As a kid who did not have enough healthy food to eat, I literally dreamed of shopping trips like the ones I took to buy food for the yacht, filling multiple carts with expensive items and paying for it all with my employers’ gold credit card.

I’d become a ship’s cook almost by accident. On a break from college in my early twenties, I was traveling in France and took a job as a deckhand on a 128-year-old Spanish brigantine that made trips back and forth across the English Channel. I endured a lot of teasing from the mostly British sailors—working-class Brits really know how to twist the knife—but my tears gave way to laughter as I developed a thick skin to go with my sea legs.

The food on board was standard English fare: hunks of roasted meat and potatoes served with reconstituted gravy granules. I thought constantly about improvements I could make. Though I had no formal training, I had little doubt I could produce nourishing and delicious meals—part bravado and part the result of a lifelong curiosity about food that had compelled me to experiment with recipes growing up. I volunteered to help in the galley, peeling potatoes or scrubbing pans. Before dinner one night I asked the cook if she would mind if I deglazed the roasting pans with sherry to bring flavor to the gravy. “Knock yourself out,” she said. I added salt to the stockpot of boiling potatoes. When the captain noticed a small improvement in the food, the cook said, “Don’t look at me, it’s her,” and the captain suggested I report for galley duty. The cook much preferred working on the decks anyway. Before long I was providing meals for a dozen or more people a day.

I became romantically entangled with a sailor aboard that ship, and we soon left to try to find work as a team: He would captain commercial sailing yachts, and I would be his cook and sidekick. The romance ultimately fizzled, but it served as a springboard into a previously unimaginable career. As the ships grew fancier and the guests more demanding, cooking interesting and creative meals day after day required an engagement akin to a spiritual practice. The repetitive motion of knife through vegetables soothed me. I wrote lists of ingredients for wine-braised chicken legs or chocolate crinkle cookies. When we moored in a harbor, I would talk my way into commercial kitchens, explaining I was a self-taught cook who worked aboard a yacht, and could I ask the chef about his favorite dishes? They always allowed me in for a few hours.

About four years into my maritime career, I took six months off to attend a French-themed culinary school, hoping the expected salary increase would be enough to recoup the money I’d spent on tuition. Everyone in the marine industry said that charter yachts rented by the super-wealthy were where the crews made the biggest money.

I’d been aboard The Rental Cow for three months by the time Mr. and Mrs. J. arrived. It wasn’t the most beautiful in the fleet of charters available on the Mediterranean that summer. Though at first glance she looked like the other boats, with her high bow and sleek lines, a second look revealed cracks in the paint and chips in the varnish. Our economy-minded boss outfitted the decks with Pottery Barn furnishings, while the more state-of-the-art yachts we moored beside displayed Balinese wicker. Some of the biggest vessels had Ming dynasty rugs and helicopter pads and charged upwards of $500,000 a week. Our main draw was our relative affordability. Depending on which week of summer it was, we charged between $25,000 and $35,000 a day. The rental contract recommended guests leave a minimum 8 percent gratuity for the crew. Some left far more, and the crew celebrated wildly. Others stiffed us.

Our captain, Brian, was a mild-mannered, mostly ineffectual leader. Lance, our first mate, picked up the slack with his endless enthusiasm and charm. He understood the importance of the food to our guests’ experience and checked in with me frequently to see if I needed anything. Lance’s wife, a therapist, served a dual role as both deckhand and empathetic listener for other crew members. The other deckhand was an Italian with prior experience as a restaurateur, and after finishing his other duties, he donned dress whites and served meals or even stepped into the galley to help with my endless prep.

I’d come to think of being a chef on a yacht as a kind of psycho-spiritual quest, like Homer’s Odyssey, only instead of tumultuous seas and six-headed monsters, our challenges were wealthy clients who arrived by private jet with Louis Vuitton purses on their arms. True to form, I strove to please them all. People with money intimidated me, so when guests were arrogant or snobby, I pictured them as patients in a hospital and myself as the doctor assigned to their care. This imaginative leap inoculated me against the class differences and boosted my confidence that I could diagnose their needs. [...]

One afternoon Lena, our second stewardess, spied Mrs. J. at the back of the main saloon, making small dots on the window with a tube of lipstick. Lena went around the yacht studying the mirrors and windows and finding similar marks. Apparently Mrs. J. was testing the proficiency of the housekeeping staff as well.

“She’s smart,” Lena said, in her French accent. “Some of the marks are hard to find.” To make one, she said, Mrs. J. must have climbed up on the counter in the master cabin.

“Jesus fucking Christ,” I replied.

“They’re all the same,” Lena said, placing her hands on her small hips. “Trying to get their money’s worth.”

by Mishele Maron, The Sun |  Read more:
Image: © Dominique Philippe Bonnet

That Dropped Call With Customer Service? It Was on Purpose.

In hindsight I’ll say: I always thought going crazy would be more exciting—roaming the street in a bathrobe, shouting at fruit. Instead I spent a weary season of my life saying representative. Speaking words and numbers to robots. Speaking them again more clearly, waiting, getting disconnected, finally reaching a person but the wrong person, repeating my story, would I mind one more brief hold. May my children never see the emails I sent, or the unhinged delirium with which I pressed 1 for agent.

I was tempted to bury the whole cretinous ordeal, except that I’d looked behind the curtain and vowed to document what I’d seen.

It all began last July, here in San Francisco. I’d been driving to my brother’s house, going about 40 mph, when my family’s newish Ford Escape simply froze: The steering wheel locked, and the power brakes died. I could neither steer the car nor stop it.

I jabbed at the “Power” button while trying to jerk the wheel free—no luck. Glancing ahead, I saw that the road curved to the left a few hundred yards up. I was going to sail off Bayshore Boulevard and over an embankment. I reached for the door handle.

What followed instead was pure anticlimactic luck: Ten feet before the curve in the road, the car drifted to a stop. Vibrating with relief, I clicked on the hazards and my story began.

That afternoon, with the distracted confidence of a man covered by warranty, I had the car towed to our mechanic. (I first tried driving one more time—cautiously—lest the malfunction was a fluke. Within 10 minutes, it happened again.)

“We can see from the computer codes that there was a problem,” the guy told me a few days later. “But we can’t identify the problem.”

Then he asked if I’d like to come pick up the car.

“Won’t it just happen again?” I asked.

“Might,” he said. “Might not.”

I said that sounded like a subpar approach to driving and asked if he might try again to find the problem.

“Look”—annoyed sigh—“we’re not going to just go searching all over the vehicle for it.”

This was in fact a perfect description of what I thought he should do, but there was no persuading him. I took the car to a different mechanic. A third mechanic took a look. When everyone told me the same thing, it started looking like time to replace the car, per the warranty. I called the Ford Customer Relationship Center.

Pinging my way through the phone tree, I was eventually connected with someone named Pamela—my case agent. She absorbed my tale, gave me her extension, and said she’d call back the next day.

Days passed with no calls, nor would she answer mine. I tried to find someone else at Ford and got transferred back to Pamela’s line. By chance—it was all always chance—I finally got connected to someone with substantive information: Unless our vehicle’s malfunction could be replicated and thus identified, the warranty wouldn’t apply.

“But nobody can replicate the malfunction,” I said.

“I understand your frustration.”

Over the days ahead, and then weeks, and then more weeks, I got pulled into a corner of modern existence that you are, of course, familiar with. You know it from dealing with your own car company, or insurance company, or health-care network, or internet provider, or utility provider, or streaming service, or passport office, or DMV, or, or, or. My calls began getting lost, or transferred laterally to someone who needed the story of a previous repair all over again. In time, I could predict the emotional contours of every conversation: the burst of scripted empathy, the endless routing, the promise of finally reaching a manager who—CLICK. Once, I was told that Ford had been emailing me updates; it turned out they’d somehow conjured up an email address for me that bore no relationship to my real one. Weirdly, many of the customer-service and dealership workers I spoke with seemed to forget the whole premise and suggested I resume driving the car.

“Would you put your kids in it?” I’d ask. They were aghast. Not if the steering freezes up!

As consuming as this experience was, I rarely talked about it. It was too banal and tedious to inflict on family or friends. I didn’t even like thinking about it myself. When the time came to plunge into the next round of calls or emails, I’d slip into a self-protective fugue state and silently power through.

Then, one night at a party, a friend mentioned something about a battle with an airline. Immediately she attempted to change the subject.

“It’s boring,” she said. “Disregard.”

On the contrary, I told her, I needed to hear every detail. Tentatively at first, she told me about a family trip to Sweden that had been scuttled by COVID. What followed was a protracted war involving denied airline refunds, unusable vouchers, expired vouchers, and more. Other guests from the party began drifting over. One recounted a recent Verizon nightmare. Another had endured Kafkaesque tech support from Sonos. The stories kept coming: gym-quitting labyrinths, Airbnb hijinks, illogical conversations with the permitting office, confounding interactions with the IRS. People spoke of not just the money lost but the hours, the sanity, the basic sense that sense can prevail.

Taken separately, these hassles and indignities were funny anecdotes. Together, they suggested something unreckoned with. And everyone agreed: It was all somehow getting worse. In 2023 (the most recent year for which data are available), the National Customer Rage Survey showed that American consumers were, well, full of rage. The percentage seeking revenge—revenge!—for their hassles had tripled in just three years.

I decided to de-fugue and start paying attention. Was the impenetrability of these contact centers actually deliberate? (Buying a new product or service sure is seamless.) Why do we so often feel like everything’s broken? And why does it feel more and more like this brokenness is breaking us?

Turns out there's a word for it.

by Chris Colin, The Atlantic |  Read more:

Image: Timo Lenzen
[ed. I was trying to explain the concept of friction to a friend recently and he just didn't get it. But once you understand it, you see it everywhere. Other examples not mentioned in this article: impenetrable user agreements continually being updated to make sure administrative processes like appeals, refunds, lawsuits etc. are nearly impossible to pursue; Right to Repair issues where anything from from John Deere tractors to automobile software, to mobile phones, to printers, etc. (the list goes on and on) that require specific parts only available from the company you purchased the product from (despite available substitutes). Conversely, a whole new universe of companies and apps have been created to remove friction (think Stripe, Venmo, Uber, Doordash, etc. etc. etc). So of course, the Trump administration has been actively trying to kill the one agency that's supposed to protect the public -  the Consumer Financial Protection Agency (CFPB). They haven't been able to completely eliminate it yet (despite significant DOGE downsizing) so instead they've made it useless for its intended purpose and decided to weaponize it to advance the administration's anti-woke agenda.]

Adventures With Words

Typos are good now?

“Some job applicants are intentionally adding typos to their cover letters to prove that they, and not an AI program, wrote them.” (“The Typo Vibe Shift,” by Michael Waters for The Atlantic; gift link)

That one baby name

The fastest-rising baby name of the year in the U.S. for two consecutive years is … Ailany? News to me, but three of the experts I follow were on it: Laura Wattenberg (Namerology), Hannah Emery, PhD (Janus Name Journeys), and Clare Green (Nameberry). Green writes: “Fun, bright, and melodic, Ailany is a modern Hispanic name with multicultural influences. It broke into the US top 1000 for the first time in 2023 and by 2024, it had risen over 750 places to sit just outside the Top 100.” [...]

Tolkien vs. the tech right

“J.R.R. Tolkien was famously anti-tech and anti-government … If he were alive in the age of Palantir, he might not be thrilled that a tech company with lucrative government contracts is name-checking his creations.” And it’s not just Palantir, notorious for its alliance with ICE: Tech companies called Mithril, Anduril, Erebor, and Narya all took their names from the Lord of the Rings trilogy. (Benjamin Stephen for Vox video, via Kottke.org, which offers some additional data points)

Enduring coolth

Why “cool” is still cool. “Most slang words come and go, but there’s one undisputed king that’s over 100 years old and still as relevant as ever.” (Laughing Squid)

by Nancy Friedman, Fritinancy | Read more:

[ed. Ailany... um, ok.]

Wish You Were Her

INT. Deck 7, Le Cabaret Rouge, 11:37 PM

Frank Sinatra, palming a can of Sprite in one hand and the fist of his beautiful redheaded wife in the other, sat in a dark corner across from Jeff Bezos, who looked like he was waiting for him to say something. But Sinatra said nothing. He’d been mostly quiet all evening, and now in this cabaret he seemed even more distant, staring out past fog and strobe and Bezos’s strong bald head and into the large room where at least half a dozen men had basically shattered a bistro table trying to get a better look at Marilyn Monroe. Sinatra’s wife knew, as did Roy Orbison and Austin Powers, who stood nearby, that it was only minutes before he was supposed to go onstage, and that forcing any sort of conversation on him in this mood of focus would be extremely stupid.

The fact was, Sinatra had already been waiting for over an hour for his moment at the mic and at this point would have been more than fine with just heading back to his cabin. He was tired of the constant low-grade pitch in gravity under his feet. He was still annoyed that he’d nearly lost his luggage on the first day here, a fact his wife was not letting him forget; was humiliated that he never really got his onboard Wi-Fi — Wi-Fi he paid for — to work all week; had been viciously massaging his kidneys throughout the past four songs; and now, at this strangulating moment, had to sit through the noises being made by the group of veterans Monroe had just asked to join her in a conga. Sinatra, wincing, was the victim of a condition so common around here that most people accepted it as a given. But when it got to him, shot through his personal plumbing, we were looking at a man in crisis. The fact was — and he’s going to kill me for saying this — Frank Sinatra was seasick.

EXT. Deck 18, Long Island Bar, 3:08 PM

Three nights and about eight hours earlier, select members of the Sunburst Convention of Celebrity Impersonators boarded a 169,000-ton cruise ship in civilian disguise. They crossed the gangplank by sandaled foot and standard wheelchair, in panama hats and Bermuda shorts, naked of the costumes, pancake makeup, and in some cases false breasts required to faithfully look like their look-alikes. Alongside an estimated four thousand other, non-impersonating passengers slated to set sail with them, these twenty professional plagiarists, under cover of normie human camouflage, slipped silently into the crush.

“LORD I HAVE NEVER SEEN THIS MUCH COCONUT RUM IN MY LIFE,” yelled a man on his phone, jabbing his free hand into his free ear.

“MAN IT IS COMPLETELY SUNNY — I SAID SUNNY — YOU KNOW WHAT, I’M GETTING A CALL FROM DONNA — DONNA — YEAH LOOK I’M NOT TRYING TO HAVE HER TRY AND TEAR MY ASS IN HALF AGAIN SO I’M GONNA HAVE HER CALL YOU — ”

Welcome to the open-air bar on the eighteenth floor of the MSC Seashore, a luxury megaship with the fuel economy of an oil-tanker fire and the handling of a Marriott. That was the man seated to my left, silenced by the drink handed to him by a bartender. To my right was a woman in a shirt that read I DON’T GIVE A SHIP. And behind us, beyond the bar — which led out onto the pool deck, the pool deck’s smoking section, and two Jacuzzis — was the Atlantic Ocean, foamy and real under the sun above Port Canaveral, Florida.

I was seated smack in the center of the ship’s “embarkation party,” the Seashore’s farewell-to-land fiesta. In these last few hours of boarding, standard cruisegoers (reunioning families, couples, singles, swingers) were already loudly settling in for the top-hole amenities, pampering, and bacchanalia that the Seashore’s four-day boomerang voyage to the Bahamas had promised. They more or less knew what they were in for. What they didn’t know was that the impersonators of Sunburst walked among them, incognito, settling in for the same.

The occasion of Sunburst’s presence on the cruise was this: Time had been having its remorseless way with our look-alikes. For four days a year for the past two decades, the Sunburst Convention of Celebrity Impersonators, a three-to-five-dozen-strong troupe of doppelgangers, tribute artists, and hobbyist dead ringers, had assembled in hotels and conference centers across greater Orlando. In its heyday, Sunburst’s annual congress served as the tribute industry’s largest American sanctuary. But the average age for a Sunburster now hovered around 55. The typical status of the celebrities they impersonated was “deceased.” The digital era had swallowed demand for in-person homages to golden-age Hollywood, AI was a wallop to its people en masse, folks were retiring from the trade, aging out of plausible fidelity to their chosen doubles, or, from entirely natural causes, disappearing for good. (One of Sunburst’s most redoubtable talent agents had in fact died just a few weeks before the cruise.) This made the week’s cruise purely leisurely, a hopefully happy sunset for Sunburst’s long reign.

So here I was. Shipping out. Desperately seeking someone from Sunburst. Solitary in the ark of undoubled doubles, figuring out who around here was an impersonator impersonating a non-impersonator was becoming, as you might imagine, unimaginable. In the long mirror above the bar, every woman in the pool, drifting in and out of frame on her inflatables, now had the air of a once-fabulous mid-century minx. On floated a buzzed Garbo, a browned-out Garland. Giant televisions displaying forty-foot-wide walls of text (ƎƧIUЯƆ Ƨ’TƎ⅃, or AИƎЯAƆAM OT ƎMIT Ƨ’TI) flashed before the cabanas, where Elvises of every era groped for their towels. Here walked a plausible Oprah. In came an ayatollah. And there, lanky in her tankini: a Cher. [...]

The man flailing his arms by the bathrooms fifteen yards away was Greg, Sunburst’s founder and figurehead. The phrase ENTERTAINMENT: JUST LIKE YOU REMEMBER! blazed on his T-shirt. Also he was shouting my name.

“We’re here in the back!” he yelled.

“Where?” the guy shouted.

“The BACK BACK!” Greg yelled again.

INT. Deck 8, Uptown Lounge, 3:29 PM

The back back turned out to be a lounge space ten floors down. Rodney Dangerfield, walking in with a rum and Coke, was the first to slap Greg on the shoulder.

“Damn. Wow. Smells like someone’s grilling a raccoon in here,” Dangerfield said, looking around. “You guys just get in?”

An aerial view of the piano hall in the aft of Deck 8 — aft being the rear half of the ship, and Deck 8 being the eighth of twenty floors — would have revealed concentric circles of men and women sucked into orbit around an arrangement of microsuede sofas. In the center was now Greg, struggling with a pair of armpitted clipboards. On the far outer ring was the adjacent cantina, sizzling with orders of the Fajita ‘n’ Rita Feast ($20.95). But the energy in the room emanated from the fusion of Hollywood lovelies  , B- and C-listers, dead musicians, and a few completely imaginary characters, caught in a bubble of babble.

In came the tiny and fabulous Sharon Osbourne, fresh off a flight from London. Near the exit, with his blue eyes and sensible sandals, was Boy George, who swanned over to double-cheek kiss Sharon, then peck the forehead of Martha Stewart, and — skipping over Jeff Bezos — the tip of Fran Drescher’s nose. Sinatra (A), by the banquette, had just politely pumped the hand of Sinatra (B), when both were intercepted by Dangerfield, who seemed interested in explaining the dimensions of his cabin’s toilet. The Dude from The Big Lebowski was tearing a tortilla into pieces; over by the baby grand was Jerry Garcia; Bezos left to go to the bathroom; and Greg, who was beaming richly over his dominion, looked like he might cry with pleasure when someone’s wife started talking about closing on a new condo in Mexico.

Our model of the atom collapsed toward the inner ring, at the center of which appeared a 79-year-old man with brilliant teeth, a chin-length bob, the coconutty tan of the constantly sunned.

“Guess what I am?” he asked several newcomers.

“Dolly Parton?” one suggested.

“Santa?” said another.

“About six-one?” went one more.

“Ladies and gentlemen, this is Mr. Congeniality,” Greg said, coming in to knead his neck. “You’re looking at thirty-four years of Kenny Rogers.”

Every impersonator made for a convincing person. But as the gathering of celebrity doubles milled about the room, it was growing obvious just how broad the spectrum of fidelity within impersonation could get. Some were just blessed with a genuinely miraculous assembly of genetic glitches. Dangerfield, for instance, with big red eyes hot enough to boil water, and now miming his golf swing for Greg, was an amazing, near-perfect dupe, clearly put on this planet as proof of a lazy and hilarious God. (Ditto Boy George, with his stubble, his exemplary androgynous smolder — and same for Walter White of Breaking Bad, who kept pulling out a small bag of laundry beads from his shirt pocket as his prop ounce of crystal meth.)

But the lion’s share of them weren’t so finely biologically determined. The majority looked more like second or third cousins to their doubles. Staring at them yielded a whole other feeling, stranger than the vague awe you might harbor for folks obviously cashing in on their Darwinian dues. The faces of the not-quite-theres held a secret, focused serenity — kin to the quality inborn in the showman, dramatized by the spy, not far from the one on your casual adulterer. It was the flickering, only occasionally visible pact between at least two selves.

by Mina Tavakoli, N + 1 | Read more:
Image: Kate Bancroft, The Devil On My Shoulder. 2026
[ed. Feeling Gay Talese vibes from his famous essay Frank Sinatra Has a Cold; also, David Foster Wallace's Shipping Out (from "A Supposedly Fun Thing I'll Never Do Again").]

Gen Z and Men Who Yearn

The internet is abuzz with talk of male yearning. Of course, there’s no reason the phrase should mean anything to you unless you’re chronically online. But as a woman born in 1997—right on the cusp of the Millennial/Zoomer generational divide—who writes about culture for a living, I’ve not been able to overlook the latest cultural trend: men who yearn.

 

I started noticing this increasingly often in the last couple of years. According to Google Trends analytics, I’m not the only one. In 2023, a post on X by an account with very few followers garnered 3.5 million views. It read: “What makes a man attractive is not his stupid face but his stupendous yearning and agonizing longing for one woman and one woman alone.” Searches for “male yearning” and similar terms first spiked at the end of 2024 and have been growing consistently since. Last year, many mainstream magazines with a predominantly female readership put out articles on the topic. On TikTok, the most popular social media platform among Gen Z and younger millennials, videos about #menwhoyearn consistently get hundreds of thousands of likes.

For a generation that is marked by a noticeable gender split on political beliefs as well as by ever declining marriage rates, it would seem that young women still retain a desire for a specific vision of manhood. But what exactly is that vision?

As I wrote for Public Discourse recently, many young women have turned to “romantasy,” a literary genre blending fantasy settings with romantic plots, as a way to express their desire for marriage. While some novels in the genre are relatively harmless, many teach women to confuse abuse with love, often romanticizing forced marriage, as well as suggesting that male violence is evidence of commitment. This is hardly surprising, since so many of us zoomers and younger millennials are children of divorce and have grown up without a model of a healthy marriage. Many of these novels also feature very graphic sex scenes; but again, this is largely unsurprising given that we live in a pornographic culture and that women largely favor written over visual forms of pornography.

The “male yearning” trend is different, so much so that it took me by surprise. It’s somehow more wholesome. The fictional male characters most often referenced in TikTok videos about male yearning may be tall, dark, and handsome, like romantasy protagonists, but unlike in the romantasy storylines they tend to exercise restraint in their longing for the female protagonist. Where male desire in romantasy is about quick consummation, this kind of “male yearning” tends to be about acts of service, patience, and a slow-burn romance instead.

The most cited examples of fictional “men who yearn” are not always obvious. Some fit the brooding stereotype that one also finds in romantasy. For example, TikTok is full of edits of Pride and Prejudice’s Mr. Darcy—as played by Matthew MacFadyen in the 2005 film adaptation—“flexing” his hand in frustration as he silently yearns for Elizabeth Bennet. And of course, the internet went absolutely crazy last year over the character of Conrad Fisher when season three of the adaptation of Jenny Han’s The Summer I Turned Pretty was released. Emotionally withdrawn in his longing, Conrad has often been described by fans of the show as the young adult novel version of Jane Austen’s Mr. Darcy. Yet other yearning men don’t brood. Loyal to a fault and notoriously good with kids, Steve “always the babysitter” Harrington from the popular sci-fi show Stranger Things has become the object of admiration in hundreds of thousands of videos and posts made by young women.

To be clear, I’m not praising women of my generation for publicly fawning over a man, real or fictional. Some of this content borders on objectification, the very objectification of which we so often—and rightly—accuse men. This phenomenon is, nonetheless, a sign of a much healthier kind of desire than what we find in the discourse around romantasy.

The common denominator among these male characters is their willingness to accept a life of service to their loved ones...

These men exercise selflessness. They serve without expecting anything in return. They embody a healthy version of masculinity in that they use their strength not to subdue, but to support those who are more vulnerable than they are.

But how can the smutty romantasy trend coexist with this ubiquitous desire for men who respect, provide, and protect? And secondly, if data show us that young people are getting married less, why are young women consuming fiction that shows marriage, kids, and commitment as goods rather than impediments?

The first question is perhaps easier to answer. While it is overwhelmingly obvious that women—rather than men—engage with both the romantasy trend and the men-who-yearn discourse, the age range of said women overlaps only partially. Generally speaking, Gen Zers prefer to see less sex depicted in fiction than do their millennial counterparts. Romantasy reading stats, as I discussed in my previous article, point to the fact that millennials are a substantial chunk of consumers, even though the themes and plotlines of romantasy novels ostensibly target young adults.

Since I wrote that article, for example, the gay hockey romance show Heated Rivalry (yes, I’m afraid that is the title) has skyrocketed to international success. I’m given to understand that it features prolonged sex scenes, and yet most viewers are women, with millennials being a high proportion. This may seem an anomaly at first. But the book by Rachel Reid on which the show is based was released in 2019, the same year that the extremely graphic, water-cooler show par excellence Game of Thrones came to an end. By that point, millennial women had been subjected to an entire decade of adulthood of explicit content in film and TV.

I am afraid women have become somewhat desensitized. Millennial and older Gen Z women especially have, for decades, been told that they should feel no moral qualms about being both consumers and products of explicit sexual content.

Yet younger zoomers are beginning to differ from their millennial counterparts. Anecdotally, as an older zoomer myself, I’ve seen the generational divide happen right in front of my eyes. My high school peers who were just one or two years older than I have a significantly different attitude toward, and experience of, sex and relationships than my sister-in-law who is only five years younger than I. What’s surprising is not that Gen Zers are consuming smut, but that they are not consuming it at higher rates than millennials, who, now in their thirties and forties, you may expect to have progressed to a more mature view of sex and marriage.

That simply hasn’t happened. I’m hardly the first to point out that millennials are a generation marked by arrested development. They are not getting married; they’re not having kids. Some of this is explained by factors outside their control (rising house prices, etc.), but some factors are cultural. Millennials grew up engaging fully in hookup culture. Their consumption of graphic fictional content is but a reflection of their consumerist attitude toward love and relationships.

Younger Gen Z women are also not getting married, but the difference is that they are, on average, more averse than millennials to both casual sex in their own lives and depictions of sexual activity on the screen. The Marriage Foundation has spoken of a “collapse” in early marriage, “with only 4% of women and 2% of men born in 1998 marrying before age 25, marking a historical low.” But this collapse is not due exclusively or even primarily to a preference for cohabitation. The Institute for Family Studies has recently reported that Gen Z is not only marrying later and less frequently: they are also cohabiting less and having less sex overall. Essentially, zoomer women are increasingly retreating from interaction of any kind with the opposite sex, a phenomenon that is now often described as involuntary celibacy.

As well as this, recent reports suggest that Gen Z men and women want to see less explicit sexual content in films and TV shows, preferring depictions of non-sexual intimacy, whether that is deep friendship or a romantic bond. Finally, an article by Wendy Wang, also for the Institute for Family Studies, argues that, while Gen Z women are generally more egalitarian than previous generations in their attitudes toward relationships between men and women, there is one role that they still want men to play: to protect.

by Beatrice Scudeler, Public Discourse | Read more:
Image: FlixPix/Alarmy

Hollywood Sausage Factory

Quentin Tarantino has criticised contemporary Hollywood, calling it “a flavourless sausage factory”.

Writing in Sight and Sound magazine, Tarantino said that “since the pandemic … it seems almost impossible for a new movie to come out that I don’t pick to death”. He added: “Flaws, implausibilities, audience pandering, miscast performers or just plain stupid shit usually torpedoes every new movie coming out of the flavourless sausage factory that used to call itself Hollywood.” [...]

In his article, Tarantino dwelled at length on one current film he enjoyed – The Rip, directed by Joe Carnahan, currently on Netflix – and mentioned Steven Spielberg’s West Side Story and the Kevin Costner-directed Horizon: An American Saga Chapters 1 and 2 as recent films he liked. He went on to say that he had seen “nothing that really held me in its grip and swept me away to the magical land of enjoyment that I used to visit regularly and was the reason I loved movies above all other art forms. These days I’d rather read a book.”

by Andrew Pulver, The Guardian |  Read more:

Image: Noam Galai/Getty Images

[ed. Can't disagree. He's also known to have other strong opinions:]

Sake: It’s All in the Rice

The nuanced world of Japanese sake and how to pair it with food.

If your experience with sake is limited to the warm cup at your local sushi spot, you’re missing the larger world of sake, which is as nuanced and layered as wine.

The traditional Japanese drink is brewed (not distilled) from rice, yeast, water and koji, a mold that converts the rice starch into sugar. Premium sakes might add some distilled alcohol. Sometimes other ingredients are added for flavor, but purists stick to the essentials.

“It’s quite incredible to think of the variation in flavor sake provides, given these constraints,” says Yoko Kumano, who with Kayoko Akabori owns the shop Umami Mart in Oakland, California. The pair has written a new book, “Everyday Sake.”

She also likes to remind people that sake is a food-pairing beverage.

“It is meant to be enjoyed with food — and not just sushi,” Kumano says. Umami Mart’s monthly sake club has tried pairings with cheese, pizza, French cuisine and more.

Every batch of sake — which in Japan is called nihonshu — is overseen by a toji, or master brewer, whose skill shapes the final flavor.

Here are some quick sake facts so you can sound savvy about it at a restaurant or wine store.

It begins with rice

The first step in making sake is rice polishing, or seimaibuai. Each grain’s outer layers are milled away to reveal its starchy center. The more polished the rice, the lighter and more refined the sake; the less polished, the earthier the flavor. Sake also varies based on whether distilled alcohol is added and how it’s filtered, stored and served.

The two main families of sake are Junmai and Honjozo. Within those, you have grades like Ginjo and Daiginjo, reflecting how much the rice has been polished.

Grade names are on the label, though not necessarily the polishing ratio.

Junmai
Means “pure rice,” with no distilled alcohol added. These sakes range from light to full-bodied, and often have more umami and structure than other sakes. Think earthy, rice-forward flavors that pair beautifully with grilled meats or heartier dishes. Junmai is often served warmed or at room temperature, highlighting its comforting depth of flavor.

Honjozo
Contains a touch of distilled alcohol, which lightens the texture and enhances aroma without significantly changing the alcohol content. Smooth and versatile, it pairs with everything from tempura to sushi to teriyaki.

Ginjo
More delicate, made with rice polished down to 60% of its original size and fermented at lower temperatures. A bit of distilled alcohol may be added to enhance aroma. The flavor is often floral and fruity. Ginjo is best served chilled, and pairs well with lighter dishes like sashimi, sushi, salads and delicate seafood.

Daiginjo
The most extensively milled sakes, with at least 50% of the outer rice layers removed. The result is aromatic, delicate and often considered the highest-quality sake. Expect a higher price tag.

Nigori
Coarsely filtered, leaving some rice sediment (kasu) behind, giving it a milky appearance and slightly sweet, creamy texture. Its sweetness pairs especially well with spicy dishes.

Sparkling Sake
In recent years, sparkling sakes — some naturally carbonated, some artificially — have become popular as a festive touch to many occasions.

Nama
Kumano says Nama (unpasteurized sake) has been growing more popular, and appeals to people who like fresh, young beverages like Beaujolais Nouveau or fruity wheat beer. Make sure it’s refrigerated both at the store and at home.

Creative additions
Hirohisa Hayashi, chef-owner and sake sommelier at Hirohisa restaurant in New York City, makes different versions of plum sake each year. He steeps Washington State-grown plums in low-alcohol sake, sometimes with shiso (a minty herb) and, this year, Okinawan brown sugar.

Serving and storage tips

Ultimately, whether sake is served warmed, chilled or at room temperature is subjective. “In general, classic dry junmai sake is often said to become softer and more approachable when (slightly) warmed. On the other hand, if you warm a fragrant daiginjo, its delicate aromas and refined character can be lost,” says Hayashi.

Sake is best consumed within a year of bottling. Store it in a cool, dark place. Once opened, refrigerate and enjoy within a week. Unpasteurized sake (nama) must be refrigerated and consumed within a few days.

Finally, take a cue from Japan: Pouring for others and refilling their glasses before they’re empty is an act of hospitality and attentiveness. And don’t forget to clink glasses and say “Kanpai” (“Cheers”) before you sip.

by Katie Workman, AP |  Read more:

Image: Katie Workman

[ed. For more details, see also: Sake 101: A Beginners' Guide (Sake Hub):]

***

Koji
While the rest of the ingredients of sake are straight-forward, koji tends to trip up sake beginners. Koji, also known by its scientific name aspergillus oryzae, is a special mold. Koji helps break the rice starches into sugars to prepare for fermentation.

As important as both water and rice are for brewing sake, the sake production process can't get off the ground without koji.

The quality of koji also affects the sake's flavor profile immensely. That's why sake brewers take koji production (seigiku) itself so seriously.

“My Weekend as a 28-year-old in Chicago

[ed. Mental Awareness Day. Pretty dope.] 

The Most 2020s Art Ever Made

Five years ago, Bo Burnham released Inside on Netflix to near-universal acclaim. Inside is a fantastically rich comedy special and probably the single best piece of content made about the COVID-19 pandemic in any medium.

But looking back at it five years later, Inside feels like more than just a very good comedy set, more than just a statement about the pandemic. It feels, if you’ll forgive the pun, special.

It’s always a risk to call a race before we’ve reached the finish line, but with some trepidation, I’ll take that chance: Even though the decade isn’t over yet, the 2020s already have their definitive piece of art. And we got it in 2021.

A definitive piece of art needs to embody the main trends of its time. Its strengths and flaws should be the quintessential strengths and flaws of its era. It should ideally anticipate the trajectory society is headed in. And it hopefully has something meaningful to say about the technological, social, and cultural currents people are navigating.

Inside does all of these things better than anything else produced this decade. [...]

Inside Bo Burnham

Bo Burnham catapulted to fame the way everyone catapults to fame these days: social media. In 2006, he was one of YouTube’s earliest viral creators, and his trajectory from awkward internet teen to global comedy star was essentially a straight line upward.

Hailed as a comedy prodigy, he toured internationally, appeared on Comedy Central, and released an EP all before turning 18. At 23, he released his second comedy special/album what. as an hour-long Netflix feature to widespread acclaim, then at age 25, released his third special Make Happy to even more widespread, near-universal critical praise.

But at the height of his success, Burnham began to have panic attacks on stage and for several years stopped performing live altogether.

During this time, he experimented with other work, acting in Emerald Fennell’s Promising Young Woman and directing his own film Eighth Grade. After the pandemic began in 2020, Burnham decided to work around his anxiety by upending the traditional live comedy format and creating a “comedy special” that was filmed in a single room with no audience.

Like so much art in the digital age, it’s difficult to perfectly categorize Inside. It’s a comedy special and it’s an album. It’s fictional, autobiographical, and autofictional all at once.

At times, Inside has the feel of a documentary or a behind-the-scenes making-of featurette. It was made for Netflix, but it was also clearly built for the social internet, designed to be chopped up for consumption on YouTube, TikTok, Spotify, and other platforms.

Like much of today’s independent media, Inside is an auteur production where Burnham acts as the writer, director, editor, and performer all at the same time. It’s a shapeshifting, genre-bending work that challenges your expectations for what a comedy special can be.

Inside is framed around Burnham’s experiences during the COVID pandemic, the single most important event of the long 2020s. While Inside never once explicitly mentions the pandemic, it’s a film about all the ways COVID transformed our relationship with technology and one another.

Burnham is uniquely well suited to diagnose the ways in which the internet has changed us all, as someone who was raised online and whose stardom was born there. The opening number is deliberately grating as Burnham croons about “content”:

Look I made you some content
Daddy made you your favorite, open wide
Here comes the content
It’s a beautiful day to stay inside

Burnham mocks the online world where every attempt at art, commentary, humor, and dialogue is flattened into the grotesque “content,” but he also helped create that world and now finds himself trapped in it.

The word “content” appears frequently throughout the special, acting as a kind of brain-rotted leitmotif. In one unsettling interlude, Burnham appears as a YouTuber, saying “Thank you for watching my content!” while cheerily wielding a knife. “Keep watching, ‘cause there’s a lot more content where that came from.” he chirps, waving the knife at me through the screen, part promise, part threat.

The special’s first half is full of these little vivisections of online culture.

“FaceTime with My Mom (Tonight)” highlights the banal frustrations of trying to communicate with older relatives who are not digital natives.

“Sexting” captures the anxieties of someone who is stuck inside, who is still horny, and who desperately wants to be sexy through their phone, but is pathetically unable to actually make it happen.

“White Woman’s Instagram” skewers the performative femininity of female influencers, with Burnham re-creating dozens of popular Instagram shots.

“Welcome to the Internet” may be the single best encapsulation of what it’s like to exist online ever made, with its demented, demonic narrator tempting you with “A little bit of everything, all of the time.” Burnham’s internet is one where the banal is juxtaposed with the horrible — “Which Power Ranger are you? Take this quirky quiz! Obama sent the immigrants to vaccinate your kids.”

Burnham believes we’re all trapped in a hellscape of our own making precisely because it’s so difficult to segment the useful ways of being online from the poisonous parts that are tearing apart society.

Inside’s commentary is especially pointed when it comes to the people and corporations manipulating the online world. While the flashy songs about Jeff Bezos get more attention, Burnham’s sketch about cynical, socially aware brand consultants is far more cutting:

There’s no sugarcoating it. The world is… fucked up. And you’ve got a choice as a brand. You can hide and bury your head in the sand and hope it fixes itself, or you can roll up your sleeves and get to work… and sell Butterfingers.

The special also takes time to satirize the worst, laziest types of online content like self-indulgent reaction videos, monotone gaming livestreams, and influencer culture. Even the cut-for-time sketches that only made it on the extended version of Inside are sharp.

In one, Burnham mocks vapid celebrity interview practices designed to create social media clips. In another — and it is practically criminal that this sketch was left out of the completed special — he goes after the absurdity of Joe Rogan’s podcast, showcasing two comedians who insist that they are being canceled by PC culture, that the things they say are just jokes, but also, that they are modern-day philosophers and artists, while “This episode is sponsored by Manstuff’s Dick SprayTM” scrolls along the bottom.

The best parodies work because the author has a deep connection to and appreciation for the subject being parodied. Burnham’s status as a digital native is what makes the social media commentary so sharp. The New Yorker’s Rachel Syme once described Burnham as one of the “leading auteurs of the mediated mind,” an expert on the consequences of perceiving the world (and being perceived) through a black screen.

There’s a psychic cost to being so online, and Burnham has certainly paid it. That makes Inside feel less like an outsider’s rant and more like an insider’s dispatch.

by Jeremiah Johnson, The Argument |  Read more:

Image: Netflix/Instagram

[ed. Well... now I'm intrigued. Never heard of this so will have to check it out. Update: It's great! Burnham's a smart and funny guy.]

Bye, Bye SI

On Friday, several of Sports Illustrated’s best and brightest writers, or what remains of them, announced they’d been laid off.

Jeff Pearlman, who made his bones as a journalist for SI when it was one of the world’s most prominent sports magazines, had his heart broken all over again.

Among those who said on social media that they’d been laid off were Stephanie Apstein, Tyler Lauletta, Kyle Koster, and Mike McDaniel. Meanwhile, Front Office Sports reported that several longtime writers — including Greg Bishop and Michael Rosenberg — were laid off as part of the latest round of cuts at SI.

This is, of course, just the latest in a long series of cuts and reorganizations for the once-proud sports media brand that now trades on its reputation to create merchandise, resorts, and mostly mediocre editorial content, sometimes aided by AI.

“As a guy who wrote for Sports Illustrated for a long time and a guy who loves Sports Illustrated, like loves, loves, loves… this stuff carves me up,” Pearlman said in a TikTok video. “And it’s one thing that they get rid of writers, they lay people off. What I hate the most is that these corporate douchebags who have taken over the magazine view it just as a name now.

“That’s all Sports Illustrated is. It’s a name. It’s something to put on cruise ships. It’s something to put on clubs. It’s something to put on popcorn. Literally, there’s a Sports Illustrated popcorn. It’s something to put on whatever you can shove that thing on. That’s what it is now. Sports Illustrated has become nothing more than a way to attract people… It’s just so disturbing.”

Pearlman then ran down the who’s-who list of prominent sports writers who once graced the magazine’s pages. [...]

Pearlman, who left SI in 2002, says he could see the writing on the wall even back then.

“I started knowing SI was in trouble, I would say, for me, a couple of things,” Pearlman said. “Number one, when they f*cked up adjusting to the internet. Big time screw-up. Number two, when they laid off all of their photographers, considering it’s literally Sports Illustrated. Number three, when they just decided to destroy their library. Like, literally take the SI library, which was awesome, and just give it away.

“And now here we sit. The last of their name writers gone. Now, basically an empty vessel for selling sh*t to idiots and for getting people to gamble away their money on sports. It sucks. It’s a dark day in sports.”

by Sean Keeley, Awful Announcing|  Read more:

Image: Sports Illustrated Resorts, Jeff Pearlman

[ed. Rolling Stone business model.]

How to Defeat an Autocrat: Lessons From Hungary

Starting early in the morning on the second Saturday of May, first hundreds and then thousands of people gathered in the square in front of Hungary’s majestic Parliament building to celebrate the start of a new political era. This was the square where tens of thousands gathered in 1956 and 1989 to demand an end to the Soviet occupation and in 2006 to protest a discredited government. It was the square on which Prime Minister Viktor Orban’s regime imposed a major redesign more than a decade ago — with traffic rerouted away, a large reflecting pool and raised beds installed, narrow pathways laid down — apparently to ensure that no such mass gathering could take place again. Today it was the square where Peter Magyar, a former Orban loyalist, would be sworn in, promising a rebirth of democracy and liberty after 16 years of autocratic control.

Squeezing into the available spaces and gradually filling up nearby cafes and streets, the crowd absorbed people of all ages: young people who didn’t remember a time before Orban and who had voted in unprecedented numbers; aging intellectuals who didn’t think they’d ever celebrate their country again; multigenerational families who had arrived by bus after seeing Magyar in their hometowns and villages. During his campaign, Magyar had traveled to an estimated 700 locations, turning many of them into “Tisza islands” — outposts of support for his party. By the end, Magyar was holding five or more rallies a day.

It had looked like an impossible quest. Orban and his cronies dominated the media, persecuted and smeared opposition politicians and changed election laws to benefit his party, Fidesz. Orban had seemed to achieve what the Hungarian sociologist and political theorist Balint Magyar (no relation) calls “autocratic breakthrough” — the point after which it’s impossible to unseat an autocrat using elections. Illiberal politicians from other countries made pilgrimages to Hungary to learn from Orban; CPAC, the gathering for American national conservatives, started staging an annual convention there; and Vice President JD Vance visited Budapest in advance of the election, in a show of support for Orban. And yet Hungarians handed Tisza not just a victory but a constitutional majority, enough power to reverse Orban’s changes to Hungarian laws and institutions. The triumph was stunning — unique in our era of democratic backsliding — and it holds clear lessons for the United States. [...]

In his inaugural speech to Parliament, broadcast on giant screens set up around the square, Peter Magyar said that voters had handed him a mandate “not just to change the government, but to change the system. To start over.”

Magyar enumerated the ways in which Orban had damaged Hungary: a stalled economy in which a third of the population lives in poverty, inadequate health care, low-quality schools, child welfare institutions plagued by abuse, an atmosphere of hatred and fear. Orban’s regime had “stolen from the common good of the Hungarian nation — from the pockets of the Hungarian people, and from the tables of Hungarian children and the elderly,” Magyar said, “an estimated 20 trillion Hungarian forints,” or some $65 billion, over the last decade and a half.

Previous opposition politicians had described Orban’s regime as “corrupt,” a relatively mild term suggesting some aberration from the government’s intended function. Peter Magyar made no such accommodation. Borrowing a term coined by Balint Magyar, he has called it a mafia state — a fundamentally criminal enterprise. Third lesson: Don’t mince words. [...]

For all his tireless work over the last two years, Magyar did not create his political machine from scratch. Like Zohran Mamdani, Magyar excelled at converting potential supporters into campaign volunteers. An existing news distribution service provided an initial skeleton of the organizing network. A panoply of grass-roots protest movements joined, too. On the day of Magyar’s inauguration, a parallel, smaller commemoration organized by the city of Budapest celebrated those organizations. One by one, people took the microphone to give a short speech about their cause and their part in the electoral victory: teachers who had organized against a unified state-dictated curriculum; a young man who spoke up against abuses in the child care system; a high school student persecuted for reciting an anti-Orban poem; organizers of Budapest’s L.G.B.T.Q. Pride celebration. The speakers stayed onstage, gradually forming a crowd of the kind — the many kinds — of ordinary Hungarians who had ended the Orban era.

That’s a fifth lesson: Grass-roots organizations that have little or no connection to electoral politics — in the United States, that might be the networks formed by the No Kings rallies, ICE-resistance groups and so on — can matter as much as or more than those already focused on winning votes.

Another lesson lies in the issues that motivated Magyar’s voters. Hungary’s economy is a mess, but post-election polling by Median, an organization that had predicted election results with uncanny accuracy, shows that voters saw corruption as the most important issue by far. Asked why they thought Orban had lost, 49 percent cited corruption, and only 18 percent thought it was the “worsening economic situation, rising cost of living.” The next three reasons cited were “lies” (15 percent); “fearmongering, war rhetoric” (11 percent); and “people got fed up” (10 percent). In other words, Hungarians seemed to see the damage that Orbanism had done to the nation as more important than any harm they felt they had suffered as individuals. They were united by a sense of moral outrage — “value choices,” as one person close to the incoming government described it to me. [...]

Peter Magyar scheduled his inauguration for Europe Day — the 76th anniversary of the declaration that created the road map for a united continent. Before he was sworn in, the European flag was raised again. But the Szekely flag remained, signaling that Magyar seeks to represent all Hungarian citizens, including those who supported Orban. In some U.S. coverage, Magyar has been labeled centrist or right-of-center. What his politics actually are — and this is another lesson of his victory — is pluralist. [...]

Like many other autocrats and aspiring autocrats — Vladimir Putin, Benjamin Netanyahu, Donald Trump — Orban had been apparently desperate to maintain power because if he lost his office, he could face criminal charges. For this reason, even as Peter Magyar surged in the polls, and even on Election Day, as early returns pointed to Tisza’s overwhelming victory, many Hungarians assumed Orban would find a way to cling to power. Would he refuse to acknowledge election results? Would he declare martial law? But even after he authorized lump-sum payments of six months’ salary to members of the uniformed services, military personnel were said to overwhelmingly favor regime change. Orban must have known he could not count on them.

He stepped down from Parliament after the election, and on inauguration day he wasn’t in the building. Neither were several of the most prominent members of Fidesz, the party he still leads, which won roughly a fourth of the seats in the legislature. President Tamas Sulyok, an Orban loyalist, was there, however. Before Magyar took his oath of office, Sulyok delivered an anodyne speech about the importance of rule of law and constitutional order.

Magyar refused to play along. “It is ironic to hear him speak of the rule of law now, after two years of silence,” he said. “Mr. President, you remained silent when the failed prime minister called half the country” — those who opposed him — “‘insects to be exterminated.’ You expressed no concern when the secret services were sent after the largest opposition party. You failed to speak up when billions in public funds were used to spread war hatred among Hungarians, including among our children. After so much cowardice and turning a blind eye, how could you represent the unity of this nation? You cannot. It is time to leave with your head held high while you still have the chance.”

Hungarians think of themselves as a polite and reserved people. They arrive on time. They observe decorum. They refrain from confrontation. On election night, however, they had shocked themselves by dancing in the streets, chanting “It’s over!” And now their new prime minister was shocking them again. Inside Parliament there was silence, but the thousands of people watching the speech on the outdoor screens broke out in screams and applause. And when the camera cut to Sulyok, his face frozen in an uncomfortable half-smile, the crowd let out a round of boos that could probably be heard on the other side of the Danube. [...]

When Magyar emerged from the building to address the assembled crowd, he offered his own lesson of his impossible victory. “Against a machine of power,” he said, “we don’t need another machine of power, but real people who — going from mailbox to mailbox, house to house, in the cold, the frost and the rain — are capable of anything for their homeland, their neighbors, their relatives and their community.”

The next task was “to rediscover how to see ourselves as a community once again,” he said. “Therefore, I ask you to turn toward those compatriots who are disappointed today, who are afraid, or who experience this period as a loss. Do not try to defeat them; do not look down on them. Listen to them and talk to them. Tell them that this country belongs to them, too; that they are needed, just as everyone is needed; and that together, we will rebuild Hungary, because there is no left, there is no right — only Hungarians.”

One of the secrets of Peter Magyar’s success, Balint Magyar had told me, lay in reclaiming the symbols of the nation: the flag, the national anthem, the very idea of Hungarian-ness. Now Peter Magyar was watching over an elaborate national performance: the raising of the flag, soldiers goose-stepping, cavalry in ornate uniforms.

And then the pageantry was over, but Magyar was still separated from the crowd by large expanses of empty space, the distance that Orban’s government had so carefully engineered. Magyar started motioning to the crowd: Come closer, come closer — but people were already pressed up against the edge of the reflecting pool. After a few moments, the excitement and the desire to be fully a part of this historic moment became too much to resist. Some men hiked up their pants and ran across the reflecting pool — which, it turned out, was just a couple of inches deep. Almost immediately, hundreds more followed. They ran splashing through the water and onto the other side, filling the space from which they had so long been excluded. “This is your house now!” Magyar exclaimed.

by M. Gessen, NY Times |  Read more:

Images: Máté Bartha

[ed. So happy for them. It must feel wonderful to have hope again when change seemed impossible.]

Hug of Death

Will Japan's content industries survive the government's efforts to promote them?

You can be loved or you can be feared.

In a January interview, the White House’s chief of staff declared that we live in a world “that is governed by strength, that is governed by force, that is governed by power,” signaling America’s choice to take the latter path.

Japan, on the other hand, seems dedicated to the former. In February, Japanese government officials announced a plan to expand the size of the nation’s content production industry, meaning its books, manga, anime, games, movies, and more, to $130 billion USD by 2033, with an eye towards making pop culture a pillar of the economy.

Is this a realistic goal? That’s another story, one I tackled last month. But let’s put the punditry aside and say they succeed – that the Japanese government manages to create the world’s first true fantasy-industrial complex, a government and private industry working together to harness content production and export as an economic engine. (What about Korea, you might ask? They are a pop-cultural powerhouse, but the nation’s fortunes still rest upon the physical products it produces — content currently only accounts for 2% of their economy.) The question then becomes: what are the broader implications of linking a nation’s economic well-being to its entertainment industry? In other words, what happens when a country doesn’t simply promote its pop culture but comes to depend on it?

I’ve written for years about how Japan’s network of cultural producers has won hearts and minds around the globe – how their efforts have contributed to Japan’s considerable soft power. But that was an organic development, entirely grass roots, the product of countless creators and consumers collaborating over many years to build one of the most vibrant environments for pop culture on the planet. The government is well aware of its nation’s reputation as a pop superpower, but it played little role in making it so.

What about the Cool Japan fund? Notoriously ineffective. Critics (who include the fund’s own CEO) frame this as a bad thing. But I think otherwise. The scandals, the questionable investments (Cars? Refrigerators!?), and general ineptitude are a blessing in disguise. I say this with no schadenfreude. The Cool Japan bureaucrats I’ve met all seem like good folks. I say it because a government getting involved in the production of fantasies has huge implications for societies. And to be frank, I don’t think any of the architects behind Japan’s big push have really thought them through. [...]

Freedom of expression is a good thing, most of us will agree. But free speech is where the problems will begin, and compound, for the Japanese government. If the authorities are really going to take an active stand in promoting everything, without interfering in those creative works, they’re going to find themselves associated with things that get, well, creative with social norms. More than that, things that anger and disgust.

The dark matter of Japan’s pop-cultural industry is huge amounts of edgy content. Some of it is quite disturbing. (Don’t worry, that isn’t a risky click: it’s a link to the time I got “lolicon” into The New Yorker.) I’m not a fan of this material, but I’ve always believed the freedom Japanese artists feel to go places that polite society doesn’t, is part of what gives the content industry such vitality here. I mean, even if you aren’t producing crazy stuff, the knowledge that nothing’s off limits has to unshackle imaginations. Or shackle them. I don’t judge.

Anyway, promoting the industry as a whole doesn’t equal endorsement of any given content, right? The views and opinions expressed in this program are those of the speakers, blah blah blah, right? Right. But also wrong. Because once you’ve made Content with a capital C the foundation of your nation’s economy, it becomes your official face to the world. That includes all of the skeevy stuff that freaks people out, in Japan and elsewhere. And the implications of that are downright existential, as in “can a nation really exist on pop culture alone?”

by Matt Alt, Pure Invention |  Read more:

Image: uncredited