In wrestling, kayfabe refers to the unwritten rule that participants must maintain a charade of truthfulness. Whether you are allies or enemies, every association between wrestlers must unfold realistically. There are referees, who serve as avatars of fairness. We the audience understand that the outcome is choreographed and predetermined, yet we watch because the emotional drama has pulled us in.
In his own political arena, Donald Trump is not simply another participant but the conductor of the entire orchestra of kayfabe, arranging the cues, elevating the drama, and shaping the emotional cadence. Nuance dissolves into simple narratives of villains and heroes, while those who claim to deliver truth behave more like carnival barkers selling the next act. Politics has become theater, and the news that filters through our devices resembles an endless stream of storylines crafted for outrage and instant reaction. What once required substance, context, and expertise now demands spectacle, immediacy, and emotional punch.
Under Trump, politics is no longer a forum for governance but a stage where performance outranks truth, policy, and the
show becomes the only reality that matters. And he learned everything he knows from the small screen.
In the pro wrestling world, one of the most important parts of the match typically happens outside of the ring and is known as the
promo. An announcer with a mic, timid and small, stands there while the wrestler yells violent threats about what he’s going to do to his upcoming opponent, makes disparaging remarks about the host city, their rival’s appearance, and so on. The details don’t matter—the goal is to generate controversy and entice the viewer to buy tickets to the next staged combat. This is the most common and quick way to generate
heat (attention). When you’re selling seats, no amount of audience animosity is bad business. (...)
Kayfabe is not limited to choreographed combat. It arises from the interplay of
works (fully scripted events),
shoots (unscripted or authentic moments), and
angles (storyline devices engineered to advance a narrative). Heroes (
babyfaces, or just
faces) can at the drop of a dime turn
heel (villain), and heels can likewise be rehabilitated into
babyfaces as circumstances demand. The blood spilled is real, injuries often are, but even these unscripted outcomes are quickly woven back into the narrative machinery. In kayfabe, authenticity and contrivance are not opposites but mutually reinforcing components of a system designed to sustain attention, emotion, and belief.
Image: uncredited
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Forgive me for quoting the noted human trafficker Andrew Tate, but I’m stuck on something he said on a right-wing business podcast last week. Tate, you may recall, was
controversially filmed at a Miami Beach nightclub last weekend, partying to the (pathologically) sick beats of Kanye’s “Heil Hitler” with a posse of young edgelords and manosphere deviants. They included the
virgin white supremacist Nick Fuentes and the 20-year-old looksmaxxer Braden Peters, who has said he takes crystal meth as part of his elaborate, self-harming beauty routine and recently ran someone over on a livestream.
“Heil Hitler” is not a satirical or metaphorical song. It is very literally about supporting Nazis and samples a 1935 speech to that effect. But asked why he and his compatriots liked the song, Tate offered this incredible diagnosis: “It was played because it gets traction in a world where everybody is bored of everything all of the time, and that’s why these young people are encouraged constantly to try and do the most shocking thing possible.” Cruelty as an antidote to the ennui of youth — now there’s one I haven’t quite heard before.
But I think Tate is also onto something here, about the wider emotional valence of our era — about how widespread apathy and nihilism and
boredom, most of all, enable and even fuel our degraded politics. I see this most clearly in the desperate, headlong rush to turn absolutely everything into entertainment — and to ensure that everyone is entertained at all times.
Doubly entertained.
Triply entertained, even.
Trump is the master of this spectacle, of course, having perfected it in his TV days. The invasion of Venezuela was
like a television show, he said. ICE actively seeks out and recruits
video game enthusiasts. When a Border Patrol official visited Minneapolis last week, he donned an evocative green trench coat that
one historian dubbed “a bit of
theater.”
On Thursday, the official White House X account posted an image of a Black female protester to make it look as if she were in distress; caught in the obvious (and possibly defamatory) lie, a 30-something-year-old deputy comms director said only that “
the memes will continue.” And they have continued: On Saturday afternoon, hours after multiple Border Patrol agents
shot and killed an ICU nurse in broad daylight on a Minneapolis street, the White House’s rapid response account posted
a graphic that read simply — ragebaitingly — “I Stand With Border Patrol.”
Are you
not entertained?
But it goes beyond Trump, beyond politics. The
sudden rise of prediction markets turns everything into a game: the weather, the Oscars, the fate of Greenland. Speaking of movies, they’re now often written
with the assumption that viewers are also staring at their phones — stacking entertainment on entertainment. Some men now
need to put YouTube on just to get through a chore or a shower. Livestreaming took off when people
couldn’t tolerate even brief disruptions to their viewing pleasure.
Ironically, of course, all these diversions just have
the effect of making us bored. The bar for what breaks through has to rise higher: from merely interesting to amusing to provocative to shocking, in Tate’s words. The entertainments grow more extreme. The volume gets louder. And it’s profoundly alienating to remain at this party, where everyone says that they’re having fun, but actually, internally, you are lonely and sad and do
not want to listen — or watch other people listen! — to the Kanye Nazi song.
I am here to tell you it’s okay to go home. Metaphorically speaking. Turn it off. Tune it out. Reacquaint yourself with boredom, with understimulation, with the grounding and restorative sluggishness of your own under-optimized thoughts. Then see how the world looks and feels to you — what types of things
gain traction. What opportunities arise, not for entertainment — but for purpose. For action.