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    <title>The End of Reading Is Here - The Atlantic</title>
    <dc:date>2026-07-09T05:52:51+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/2026/08/reading-crisis-postliterate-age/687618/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Optimists once believed that universal literacy was inevitable. Now it seems that the age of reading might be a short anomaly in human history."]]></description>
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<item rdf:about="https://www.economist.com/briefing/2026/06/11/forget-the-world-cup-culture-is-becoming-more-fragmented">
    <title>Forget the World Cup. Culture is becoming more fragmented</title>
    <dc:date>2026-06-14T09:36:30+00:00</dc:date>
    <link>https://www.economist.com/briefing/2026/06/11/forget-the-world-cup-culture-is-becoming-more-fragmented</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell to the monoculture"

[archived:
https://archive.is/ulDjw

via:
https://social.ayjay.org/2026/06/13/the-economist-it-might-seem.html ]

"It might seem surprising, in a world of global stars, that the 6m Danes, many of whom are fluent in English, listen mainly to homegrown music. And until fairly recently they did not. In 2019 only five songs in Denmark’s top 20 were in Danish. By last year the figure was 18.

A similar trend is under way in other countries — and in other forms of entertainment. From Asia to the Americas, music charts are increasingly dominated by local sounds. Hollywood television-streaming companies are commissioning more local productions in foreign markets, causing consumption of American shows to fall. Social networks are connecting the whole world, but so far people are mainly using them to consume local content. And as video gaming expands, it too is becoming increasingly tailored to local cultures."

...

"In music, video and interactive entertainment, global tech platforms have made it easier than ever to distribute entertainment around the world. Yet the sheer abundance of content that these platforms have helped to generate means that, more than ever, global audiences are able to assert distinctively local preferences."]]></description>
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<item rdf:about="https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/">
    <title>The Same Stream Twice | Online Only | n+1 | Rob Arcand</title>
    <dc:date>2026-06-12T01:48:51+00:00</dc:date>
    <link>https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cultural products are more than ever a class of financialized assets, whose owners are even further removed from artmaking"

...

"It can be difficult to see what purpose cultural criticism serves in a moment of such rapid change for the culture industries. If “derivative media” is the reigning spirit of our times, saturated with shoddy reboots and padded with robotic background music, is there still any reason to engage with these works as critics? We might follow the example of Horkheimer and Adorno, who simply rejected Hollywood, Tin Pan Alley, jazz, and other mass cultural products as mere instruments of capitalist domination; yet their mandarin Marxism feels retrograde in a time when the boundaries of high and low taste are far less sharply drawn. In their own ways, Pelly and deWaard both suggest paths forward for criticism, drawn from their engagements with political economy.

In Pelly’s account, streaming as a medium is inseparable from the economic forces that have made it ubiquitous in everyday life, and to be an effective critic today requires close engagement with these economic factors. A kind of vernacular historical materialism underlies her premise that the musical styles of Billie Eilish or Post Malone emanate from the financialized, algorithmically conditioned environment of streaming itself, as well as deWaard’s ruthlessly symptomatic readings of 30 Rock and Space Jam. From there, both turn to critique the funding structures and production process that form the connective tissue between these economic and aesthetic categories. The critic of derivative media must be no less fluent in the language of boardrooms and earnings calls than that of sitcom dialogue or rap lyrics.

The spirit of Fredric Jameson looms over such work. Knowingly or not, both Pelly and deWaard engage questions that the late Marxist critic put forward decades ago. In The Political Unconscious (1981), Jameson suggests that Marxist literary criticism needs modes of interpretation that are able to mediate between the formal features of artistic works and the economic conditions of their production, without reducing them to simplistic economic narratives or descriptions of aesthetic inspiration uncoupled from material conditions. This “allegorical” approach to critique propelled much of his subsequent work, including his 1991 masterpiece Postmodernism, or, the Cultural Logic of Late Capitalism, with its famous readings of the Westin Bonaventure Hotel, Andy Warhol’s pop paintings, and nostalgia films like American Graffiti.

The irony of aesthetic life under capitalism, as Jameson also reminded us, has always been that even the most debased cultural products contain, albeit in ideologically distorted forms, the promise of a way of life liberated from the instrumentalizing, commodifying drives of capital. If the cultural logic of finance capital—with its degraded platforms, securitized song catalogs, and “derivative media”—is the terrain that the critic must inhabit, then it represents a shared site of struggle with workers from across the music, film, and television industries. It is in this contested landscape where the future of the culture industries will be decided."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Vinqz2Fs0zA">
    <title>Detroit Music, Creativity, Capital, &amp; the Working Class with Hanif Abdurraqib - YouTube</title>
    <dc:date>2026-06-03T20:27:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Vinqz2Fs0zA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hanif Abdurraqib returns to the show to talk about his new project, the video podcast 'Living For The City' with season one focused on Detroit. We'll talk about some of the dynamics Hanif examines in the new series, including how the working class has found time to make such globally influential music, how gentrification impacts artists and musicians, and more.

Living For the City:  https://www.youtube.com/channel/UCsjRzm4m1SLECMzBb96XQLA

As the podcast's description notes, "Before Detroit gave the world Motown, techno, and hip-hop, it gave the world something harder to name: a feeling that music made in basements and backrooms and borrowed spaces could become the soundtrack to an entire generation." 

"The full arc of how one city became the unlikely origin point for some of the most influential music ever made, told by the people who were actually there."

Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. His bestselling and award-winning books include Go Ahead in the Rain: Notes to A Tribe Called Quest, They Can’t Kill Us Until They Kill Us, A Little Devil in America: In Praise of Black Performance, and There’s Always This Year: On Basketball and Ascension, and poetry collections A Fortune for your Disaster and The Crown Ain’t Worth Much."]]></description>
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    <title>Living for the City - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Before Detroit gave the world Motown, techno, and hip-hop, it gave the world something harder to name: a feeling that music made in basements and backrooms and borrowed spaces could become the soundtrack to an entire generation. That is the story Living for the City is here to tell, and nobody alive is better equipped to tell it than Hanif Abdurraqib.

MacArthur Fellow. New York Times bestselling author. Hanif brings his singular voice to a new video podcast series that goes inside the streets, venues, and neighborhoods where iconic sounds are born, talking with the artists, DJs, producers, and community architects who built these movements from the ground up.

Season One is Detroit. Eight episodes. The full arc of how one city became the unlikely origin point for some of the most influential music ever made, told by the people who were actually there. This is not a music history lesson. This is a front-row seat to the moments that mattered.

Living for the City premieres May 13th."

[via:

"Detroit Music, Creativity, Capital, & the Working Class with Hanif Abdurraqib" (MAKC)
https://www.youtube.com/watch?v=Vinqz2Fs0zA ]]]></description>
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    <title>Who Actually Gets to Create Black Pop Culture?</title>
    <dc:date>2026-04-14T05:18:20+00:00</dc:date>
    <link>https://www.currentaffairs.org/news/2021/07/who-actually-gets-to-create-black-pop-culture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A closer look at the economics of Black pop culture reveals that most Black creators (outside music) come from middle-to-upper middle class backgrounds, while the Black poor are written about but rarely get the chance to speak for themselves."

[previously bookmarked here:
https://pinboard.in/u:robertogreco/b:9d2d2e201910 ]]]></description>
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    <title>MTV REWIND - Watch 65,000+ Music Videos from Music's Golden Era</title>
    <dc:date>2026-04-03T05:45:16+00:00</dc:date>
    <link>https://wantmymtv.vercel.app/player.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>mtv music nostalgia tv television musicvideo</dc:subject>
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    <title>The Internet Has Not Killed Reading—or Attention Spans</title>
    <dc:date>2026-03-25T05:46:19+00:00</dc:date>
    <link>https://nautil.us/the-internet-has-not-killed-reading-or-attention-spans-1279171</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with Kevin Ashton, MIT technology pioneer and author of The Story of Stories"

...

"British author and technology pioneer Kevin Ashton has been puzzling over the nature of storytelling for the past 25 years. That’s how long it took him to research and write his latest book, The Story of Stories: The Million-Year History of a Uniquely Human Art.

The first seed of the book for Ashton lay in two seemingly contradictory questions posed by American philosopher and linguist Noam Chomsky. The first, known as Plato’s problem, asks how we can know so much with so little information. Babies, for instance, learn to speak based on what might seem like a poverty of inputs. The second question is known as Orwell’s problem, and it asks the opposite: How could we know so little, given that so much information is available to us?

Ashton—best known for coining the term “The Internet of Things” in 1999, to describe the rise of a whole economy of sensors and other objects connected to the World Wide Web—also began asking himself how the rise of the smartphone might transform the human relationship to storytelling and to the world. “By the mid 2010s, I could be pretty confident that by 2026, some 9 out of 10 people in the world would have a smartphone, and I wanted to know what that might mean,” he recently told me. “The smartphone was an incremental step in the developed world, but in the developing world, it was everything at once.” In the developing world, most people had skipped over radio, television, personal computers.

Ashton knew a revolution was coming. But to grasp what that revolution would look like required him to go back and understand the entire evolution of storytelling across human history—which was initially just a footnote in his research.

I recently spoke with Ashton about why cell phones are so revolutionary in the long history of storytelling technologies, why social media might not be as terrible for young people as some believe, why long-form narratives aren’t dead, and why he’s still hopeful about our newest storytelling technologies.

You divide The Story of Stories into two parts: the first act, which is a million years long and comes to its end with the smartphone, and then everything after that. What is so fundamentally different about the smartphone from earlier storytelling technology?

A lot of people are like, “New technology comes along, and kids can’t understand stories anymore. Kids can’t read, nobody talks, bad things happen, words change, and nobody’s got any attention.” And that didn’t stand up to research very well. But what I did realize was that these major new technologies, each change the scale of storytelling: How many people can tell stories, and how many people they can tell stories to. That started to look really interesting. I was beginning to realize that big new storytelling technology generally leads to big new revolutions.

Of course, one of the early ones is printing. We didn’t all read happily ever after because of printing. There were like 50 or so wars between Protestants and Catholics over whose story was right, and 12 million people were killed. That’s an example of the kind of revolution that happens when new stories become more broadly available. The smartphone really feels like the end of that arc, because now anybody can tell a story to anybody. There is someone in Mongolia right now using Facebook, and if they publish something viral enough and interesting enough that catches enough attention, it’s five shares away from being something everybody sees.

You write in the book that storytelling is uniquely human. Do we know for sure that other species don’t tell stories?

You don’t really see any symbolic behavior in other species. All species communicate, but very few species communicate through visual means. Crows do a little bit of pointing. Dogs can understand humans pointing. But wolves don’t use pointing in the wild. They will mark the ground and use urine for signaling behavior, most of which is olfactory. But what you don’t get is any rigid system where a scratch like this means one thing, or a scratch like that means another thing. And vocalizations are primarily calls and cries that convey warning or attraction. A lot of the information in those sounds is how big is the person making the call or the cry? How old or young is the person making the call or the cry? So there’s nothing remotely like storytelling or story comprehension in any species that we’ve ever studied or discovered.

Humans started telling stories when we sat around the fires. We were primates who wanted to socialize. We couldn’t see gestures. We started making sounds. The sounds we had were, “Look over there,” and “Oh my god, run.” And those sounds were actually very useful sitting around the fire. What you want to talk about around the fire is stuff that’s not there. Maybe it’s about tomorrow or yesterday or something you remember, or something you imagine or something you desire. Over a long period of time, hundreds of hundreds of thousands of years, those sounds start to evolve into something which becomes language. And the reason they evolved into language was so that we could have these conversations about things not present, which is storytelling.

You argue that a fundamental purpose of stories is to distribute glory and shame, in the form of heroes and villains. But literary critics might argue that good stories don’t have clear-cut heroes and villains. They have antiheroes. They have gray areas rather than certainties.

We have to distinguish between stories that tend to be long lasting and successful when told to large audiences—and ones that are not. In successful stories, the antiheroes are still heroes. Batman still saves Gotham City. He just does it wearing black. An antihero isn’t a villain. And there are no anti-villains. The antihero exists as a reaction to the heroic archetype, the pure goody-two-shoes heroes that were in earlier stories. The tweedy literary people in their Brooklyn brownstones who try to write stories where it’s very ambiguous who’s the good guy or the bad guy—it’s all a bit muddled, but there’s still someone you’re supposed to be rooting for. There’s still someone the author identifies with. You cannot tell a story that anyone will enjoy if there’s absolutely nobody doing anything virtuous at any stage. That wouldn’t be a compelling story. But really, the more emotion a story evokes, the better the story. Different things evoke different emotions in different people. But these more experimental white guy books that everyone pretends they read where nothing ever happens …

Like which ones?

I’m not going to name any names! But if you’re not evoking an emotion, you aren’t going to find a lot of readers. A lot of people who want to be high-art storytellers will experiment: “Well, what if they take out these elements? What am I left with? How does it work?” My answer is generally it’s an intellectually interesting exercise that I don’t want to return to. Depending on what kind of mood I’m in, I sometimes have some very salty conversations with literary critics.

Read more: “We Can Be Heroes”

If storytelling has been so utterly transformed by these new technologies, why do the earliest forms of storytelling stick around? People are constantly saying, poetry is dead, novels are dead, but they aren’t dead. They don’t go away even though we keep getting new storytelling technologies. Why do you think that is?

The real deep answer is we’re exactly the same people with exactly the same brains and behaviors that we were 100,000 years ago or more when storytelling first evolved. The things that appeal to us about stories today are the things that appealed to our ancestors. That hasn’t changed. The hard-wiring is the same. And more people can read than ever before. More novels are being sold than ever before.

I’ve been talking about this a long time because I get really tired of this old post-literate world thing. Marshall McLuhan was declaring the world post-literate when only 40 percent of people could read. Give me a break. We live in a world right now where there’s been a democratization of reading, an egalitarianism of reading. People who like romance and fantasy books are writing their own romance and fantasy books and they’re self-publishing them. And some of them get the attention of traditional publishers and become very successful.

I’m not generally very welcome on panel discussions, but you get, “The kids these days, they have no attention spans.” And: “The kids these days, they’re always looking at their phones.” And I’m like, “Well, hang on a minute. Both of those things can’t be true.” Either they have no attention or they can’t stop looking at their phones, by which you mean paying a lot of attention to their phones. What’s on their phones is words, most of the time, even if you go look at some dumb TikTok video, they put words on top of things. There are captions that help it make more sense when they’re communicating with one another. They’re sending text messages. Children today are writing more words than you or I did when we were teenagers.

The other day I was talking to an educator, and they asked, “What do you think about AI? It’s writing all the essays.” My reply is, “I think you should stop assigning people essays.” Why has nobody come up with this idea? Tell the students, “I want you to do the reading, and then you and I are going to sit down for five minutes, one-on-one, and we’re going to talk about it.” That solves the whole freaking problem.

But if our brains haven’t changed since we first started writing down and consuming stories, wouldn’t it be a good thing to continue to write essays? Evidence suggests writing is such an important part of the thinking process.

Writing is just a technology of story. It’s one of the earliest technologies of story. And older people always hold the things that they did when they were kids in higher regard. I’m a writer. I write books. I love writing. I can talk for days about why writing is good and why books are good, but are they better than everything else? That’s an unchallenged assumption based on the fact that it’s old and not based on the fact that it’s better.

The standard academic essay is an example of what Paulo Freire called banking education. The teacher deposits a question; the student retrieves content, formats it per conventions, returns it for grading. The product is assessed, not the thinking that was supposed to happen in the middle. What the essay actually measures is socioeconomic class and family income. Essay content and style correlate more strongly with household income than even SAT scores. Higher-income students deploy abstract reflection, complex syntax, and so on, not because they think more clearly, but because those conventions are part of their linguistic inheritance. Lower-income students write differently, not worse, but get marked down. And here’s the kicker: Rich kids have always been able to pay tutors, writing coaches, and consultants to help them write essays. AI has simply made that service free and universal. The scandal isn’t that students aren’t writing their own essays. The scandal is that we’re only worrying about the problem now that the cheat is available to everyone.

What about long-form versus very short-form storytelling? Can a 5-second post on a social media app really sustain attention or require you to think about ideas in the way that a novel or a nonfiction book would?

You can get equally enthralled by a short story and a 10-book series. Martin Luther’s 95 Theses was this one-page document. The first viral meme broke the world’s greatest power at the time—the Roman Catholic Church—in two. It really isn’t how you say it, it’s what you say. If you’re going to write long-form, you have to do it well. If you’re going to write short-form, you have to do it well. All of that stuff seems values-neutral to me.

But also, social media content isn’t always short-form. A teenager spending three hours on social media might be watching long-form YouTube essays, reading Reddit threads, participating in BookTok, or creating content. Collapsing all of that into a single variable and drawing conclusions about format isn’t justified. The most popular YouTube creators built massive audiences on long-form content. PewDiePie—110 million subscribers, nearly 30 billion total views—averages 28 minutes per video, more than double the platform average. Penguinz0, who has 17.5 million subscribers and 12 billion views, averages 27 to 60 minutes per video depending on measurement window. The generation supposedly incapable of sustained attention built two of YouTube's largest channels on content running 30-60 minutes per video.

And long-form reading is booming. United States young adult print sales went from approximately 23 million copies in 2018 when TikTok launched to a record 35 million in 2022, a 52-percent increase. Sales in 2024 remain 31 percent above 2018 levels. The primary driver of that growth, according to Circana BookScan, was TikTok. Those 30 million annual copies average roughly 70,000 words each, approximately 2 trillion words, of long-form reading per year in a single book category, from a generation supposedly incapable of sustained attention. That’s about the same number of words per capita as any other age group. Americans aged 11-18 read about one novel a year on average. So do Americans over 19.

Read more: “Our Brains Tell Stories So We Can Live”

What about recent studies that suggest kids’ social media use is linked to lower memory, vocabulary, and reading scores?
The claim that social media is measurably harming cognition isn’t supported by the evidence. The one genuinely controlled experimental result is a 2023 study, which found TikTok degraded prospective memory. Specifically, the ability to remember to execute a planned intention—in a between-subjects design—while Twitter, YouTube, and a no-activity control did not. This is a real finding. But it measures one narrow cognitive function under artificial lab conditions, not, say, reading, vocabulary, critical thinking, or abstract reasoning. 

Assessments like reading scores don’t measure things like narrative construction, persuasive communication, editing judgment, or audience awareness, all of which content creation develops. Participation matters. TikTok follows the 90-9-1 pattern common to all interactive media. One percent create, 9 percent interact and the rest read, watch, or whatever. But on a platform with 150 million U.S. users, even 1 percent is 1.5 million American content producers. And the 9 percent who comment, stitch, and duet are doing something cognitively active.

Research from University of Oxford experimental psychologists Amy Orben and Andrew Przybylski suggests technology use explains only around 0.4 percent of variation in adolescent well-being. The concern about bedtime screens, often treated as established fact, wasn’t supported when measured properly. Cognitive psychologist Lan Nguyen and colleagues reviewed some 100,000 participants and found a moderate correlation between short-form video and poorer attentional performance, but the causal direction isn’t proven: Children with pre-existing attention difficulties may gravitate toward high-stimulation short-form content, producing the observed correlation without any platform effect.

You write that critical literacy—the ability to look at the context of a story, to ask follow-up questions, to recognize that everybody tells you something with an agenda, is the only way to protect yourself from manipulation today. Is anyone successfully teaching critical literacy?

The way I conclude the book is, “No one is coming to save us.” We ourselves have to get more humble, more experienced, recognize our own cognitive biases, recognize when we’re mad about something because we forgot to eat breakfast, and actually understand that we see the world in stories. People often think, “What he’s saying to me is, ‘I’m already a good critical thinker, but I’ve gotta help the other people.’” But no, I’m saying “I, Kevin, have to get better at it. And you, Kristen, have to get better at it.” One of my favorite cognitive biases is bias blindness: People who know there are cognitive biases, but are absolutely convinced these biases don’t apply to them.

It seems like you’re hopeful, though, that this new era of storytelling can bring about progress of some kind.

It already has. I have a nice little chart that I show when I talk about the book. Even today, about 2 to 3 percent of the silent generation will identify as gay, lesbian, bisexual, or trans. It’s about the same for the Boomer generation, and it’s a little bit more for Generation X. But for millennials, it’s about 15 percent, and for Gen Z, it’s about 25 percent. A lot of that has roots in the Internet becoming a place where people could find one another and build community and learn to come out. You see supportive groups forming that allow people to be themselves.

The trans revolution, a historic movement that we’re now living through, is in many ways a result of the Internet and digital photography allowing people to tell their stories more loudly and more clearly than they could before. And a lot of the horrible things in the world are backlash against that. We look at this horrible Epstein situation and it’s all terrible, but the fact of the matter is that in the 1950s, that just would’ve been no big deal. We see a lot of progress. Particularly right now, we can rightly and reasonably get very focused on the backlash to the progress, but they can’t reverse it all the way. 

I can absolutely guarantee you that the Supreme Court will not reverse the miscegenation laws that prevented Black and white people from getting married in the late 1960s, because Clarence Thomas is a Black man married to a white woman. There are a lot of horrible, bloody, brutal things that happen because we made progress. And some of them push us back a little way, but they never push us back all the way."]]></description>
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    <title>Channel Surfer - Watch YouTube Like It's Cable TV</title>
    <dc:date>2026-03-13T05:23:48+00:00</dc:date>
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    <title>Cultural Palantirism</title>
    <dc:date>2026-03-02T16:35:24+00:00</dc:date>
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</item>
<item rdf:about="https://www.garbageday.email/p/the-only-taboo-left-is-copyright-infringement">
    <title>The only taboo left is copyright infringement</title>
    <dc:date>2026-02-22T01:31:20+00:00</dc:date>
    <link>https://www.garbageday.email/p/the-only-taboo-left-is-copyright-infringement</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>platforms media copyright tiktok ryanbroderick 2026 openai gregbrockman taste culture clavicular nickfuentes hasanpiker discord streaming stephencolbert cbs censorship jamestalarico youtube tv television veradrew 2022 markfischbach mattjohnson attention andrewtate genz truth socialmedia life living bradenpeters</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3f825303afaf/</dc:identifier>
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</item>
<item rdf:about="https://www.hollywoodreporter.com/tv/tv-features/andor-creator-tony-gilroy-gives-the-interview-1236510166/">
    <title>Star Wars: Andor's Tony Gilroy Gives Interview He Couldn't Before</title>
    <dc:date>2026-02-22T01:24:20+00:00</dc:date>
    <link>https://www.hollywoodreporter.com/tv/tv-features/andor-creator-tony-gilroy-gives-the-interview-1236510166/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While promoting his cautionary tale about fascism, Disney asked Gilroy to refrain from using the word. Nine months after it aired its finale, the 'Star Wars' series feels scarily prescient."]]></description>
<dc:subject>andor disney tonygilroy 2026 briandavids fascism resistance tv television</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:70e34dc961e2/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

See the ProPublica story:
https://www.propublica.org/article/kristi-noem-dhs-ad-campaign-strategy-group

Other refs:
Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction" https://amzn.to/4s5svwR
Algirdas Julien Greimas "Semiotics and Language" https://amzn.to/4tRF3cT
Jean Baudrillard "Simulacra and Simulation" https://amzn.to/4rWMzkC
Wilhelm Reich "The Mass Psychology of Fascism" https://amzn.to/4tAS3mS

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
<dc:subject>fascism latefascistaesthetics fascistaesthetics 2026 plasticpills aesthetics walterbenjamin jeanbaudrillard wilhelmreich algirdasjuliengreimas semiotics trumpism donaldtrump us media socialmedia hyperrealism power threat violence kristinoem guns dhs ice police policing militarism baudrillard reality stephenmiller jdvance meaning messaging policy dickcheney tv television performance transparency theater pallywood marketing corruption canon carlschmitt advertising propaganda italy nazis nazigermany germany italia mussolini benitomussoilini luxurybrands hugboss politics rolex capitalism fendi chanel bimbocore louisvuitton christiandior balenciaga emergency strategygroup fascists aesthetization flags symbolism symbols ivylee hyperreality dior hypernormalization ussr conspiracy conspiracies publicreleations inequality elites fashion democracy ford ibm truenation purification rebirth nationalism scapegoating business 1920s 2020s standardoil profits profit corporations corporatism immigration elonmusk peterthiel ser</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:24c3081d3bfc/</dc:identifier>
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</item>
<item rdf:about="https://dirt.fyi/article/2026/02/dude-the-internet">
    <title>Digital culture and entertainment insights daily: “Dude, the Internet.”</title>
    <dc:date>2026-02-16T03:47:29+00:00</dc:date>
    <link>https://dirt.fyi/article/2026/02/dude-the-internet</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Annie Lloyd on Halt and Catch Fire as a techno-optimist time capsule. This piece was published in collaboration with Boys Club."]]></description>
<dc:subject>annielloyd haltandcatchfire tv television internet 2026 culture history media 1994 1990s siliconvalley web online gamergate 2014 2015 2016 2017</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2e82a2a48932/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=2yVJffNplJc">
    <title>The New Satanic Panic Is Here - YouTube</title>
    <dc:date>2026-01-24T17:16:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2yVJffNplJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.usermag.co/p/the-new-satanic-panic-is-here ]

"Are Smartphones & Social Media Really Causing a Teen Mental Health Crisis?

Are smartphones and social media actually destroying teen mental health, or is this just another moral panic? I critically examine the growing narrative that phones, apps, and screen time are responsible for rising anxiety, depression, and harm among teenagers. 
 
These claims, popularized by politicians, journalists, interest groups like the Heritage Foundation, and authors like Jonathan Haidt (The Anxious Generation), are being used to justify mass surveillance laws, deplatforming marginalized people, and implementing policies that actually harm kids and reward big tech. 
 
They allow lawmakers to scapegoat users, and institute draconian surveillance laws instead of enacting meaningful regulation. Haidt and others boosting this moral panic have pushed debunked claims about how social media can turn kids LGBTQ. Haidt has pushed false and misogynistic claims that young liberal women suffer from more "anxiety." He is on the board of Bari Weiss' unaccredited reactionary right wing University. 

Using peer-reviewed studies, media analysis, and real-world examples, this episode breaks down:

- Why smartphones became the default scapegoat for teen mental health
- How correlation is repeatedly confused with causation
- Ho weak and misleading data is driving major public policy decisions
- How moral panics spread through podcasts, news media, and social platforms
- Who is actually harmed by phone bans and social media crackdowns
- Why girls, LGBTQ youth, and marginalized teens are the most harmed

I also explore how internet scares like the Momo Challenge illustrate the dangers of fear-based policy making, and why banning technology doesn’t solve any of the root issues of kids' mental health issues like social isolation, economic stress, lack of mental health care, and inequality.

If you’re interested in:

- Teen mental health
- Social media & smartphones
- Internet culture and moral panics
- Education policy and school phone bans
- Digital rights and youth safety

this video will challenge what you’ve been told by the mainstream media, but please keep an open mind!"]]></description>
<dc:subject>taylorlorenz 2026 socialmedia jonathanhait web internet online mentalhealth conservatism censorship inequality momochallenge smartphones moralpanic mashablackburn lgbtq policy bariweiss heritagefoundation anxiety reactionaries screentime depression teens youth research media technology change history novels comicbooks comics telephones phones television tv radio fredricwertham children childhood adolescence addiction beepers columbine videogames games gaming bans tiktok isolation fear danahboyd mobility walkability suburbia freetime leisure homework play parenting panic surveillance economics wealthdisparity work labor pandemic covid-19 coronavirus misogyny rightwing right recession economy unemployment instability capitalism publicpolicy poverty precarity guns stress mainstreammedia social connection</dc:subject>
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<item rdf:about="https://www.experimental-history.com/p/text-is-king">
    <title>Text is king - by Adam Mastroianni - Experimental History</title>
    <dc:date>2026-01-21T07:46:11+00:00</dc:date>
    <link>https://www.experimental-history.com/p/text-is-king</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have one more gripe against the “death of literacy” hypothesis, and against Walter Ong, the Jesuit priest/English professor whose book Orality and Literacy provides the intellectual backbone for the argument.

Most of the differences between oral and literate cultures are actually differences between non-recorded and recorded cultures. And even if our culture has become slightly less literate, it has become far more recorded.

As Ong points out, in an oral culture, the only way for information to pass from one generation to another is for someone to remember and repeat it.4 This is bit like trying to maintain a music collection with nothing but a first-generation iPod: you can’t store that much, so you have to make tradeoffs. Oral traditions are chock full of repetition, archetypal characters, and intuitive ideas, because that’s what it takes to make something memorable. Precise facts, on the other hand, are like 10-gigabyte files—they’re going to get compressed, corrupted, or deleted.

Writing is one way of solving the storage problem, but it’s not the only way, and we use those other ways now more than ever. Humans took an estimated 2 trillion photos in 2025, and 20 million videos get uploaded to YouTube every day. No one knows how many spreadsheets, apps, or code files we make. Each one of these formats allows us to retain different kinds of information, and it causes us to think in a different register. What psychology is unlocked by Photoshop, iMovie, and Excel?

There is something unique about text, no doubt, and I’m sure a purely pictographic, videographic, or spreadsheet-graphic culture would be rather odd and probably dysfunctional. But having more methods of storage makes us better at transmitting knowledge, not worse, and they allow us to surpass the cognitive limits that so strongly shape oral culture.

Put another way: hearing a bard recite The Iliad around a campfire is nothing like streaming the song “Golden” on YouTube. That bard is going to add his own flourishes, he’s going to cut out the bits that might offend his audience, he’s probably going to misremember some stanzas, and no one will be able to fact-check him. In contrast, the billionth stream of “Golden” is exactly the same as the first. Even if people spend less time reading, it is impossible to return to a world where every fact that isn’t memorized is simply lost. I don’t believe we are nearly as close to a post-literate society as the critics think, but I also don’t believe that a post-literate society is going to bear much resemblance to a pre-literate society."]]></description>
<dc:subject>adammastroianni text reading howweread writing howwewrite 2026 form media books intrnet web online smartphones socialmedia enshittification radion tv television history wifi tiktok orality literacy walterong secondaryorality culture society photography video</dc:subject>
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<item rdf:about="https://kalebhorton.ghost.io/death-is-just-a-change/">
    <title>Death Is Just A Change</title>
    <dc:date>2026-01-05T22:54:26+00:00</dc:date>
    <link>https://kalebhorton.ghost.io/death-is-just-a-change/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David Lynch has gone on to whatever the next place is. I’m very sad about it; it came at a hard time for the city of Los Angeles, a place he dearly loved, and it’s hard not to think his change of consciousness, which we kinda knew was coming (“I knew a couple of weeks ago that he was failing. That it was going to be soon.”) was hastened by the fires. Made less peaceful because it followed his evacuation, because it was in the middle of a tragedy that will make the city permanently different. That there had to be a violence to it.

I love David Lynch, he’s a hero. I’ve written about him a lot over the years and I’m going to keep doing it. I cut a three hour podcast about what would be his last project, Twin Peaks: The Return. I think it’s his masterpiece, and I think it’s a film, and the greatest one made in the 21st century. It’s so rich, it’s so dense, so full of ideas that I could talk about forever. It’s also a meditation on death and it helped me more than anything else to process my grandma’s death from cancer, which happened in the middle of the show’s run. It helped him process the deaths of, what, like 80% of the cast of that thing? Half of them died before it came out and Harry Dean died right after. 

He was philosophically tuned in to death, profoundly ready for it, and he knew time was running out. The show wouldn’t exist if he wasn’t. I think it’s one of the great miracles in the history of filmmaking that he was able to get it made, and not just get it made but make it the culmination of every idea he explored in his career. To write his own conclusion. Most people don’t get to do that. And I don’t think we’ll see anything like it again. Even during production it kept seeming like negotiations would fall apart, and in the streaming era it feels like people don’t even make television anymore. It feels too challenging and perfect and huge to even be television (which is because it’s not, it’s a film). How the fuck did he get away with this, I keep saying in his voice.

Today is David Lynch’s birthday. People have been keeping vigil en masse and making a shrine to him at Bob’s Big Boy in Toluca Lake, where he famously drank a milkshake every day at 2:30, a milkshake he would later correctly say was really bad for you. I’ve had time on my hands so I’ve just sat there for a few days thinking about him, how much he meant to me, and it’s been a powerful thing to see so many people who felt the same way and cried and hugged and smoked cigarettes, which the restaurant would never let happen if it was anybody else.

One of the beautiful things about David Lynch was that you could find your people through him, how a whole community was built up around him. I’ve had a lot of really nice conversations with people who get it and we can jump right into his whole deal, what it means, means to us. So many people going through grief, not for him per se but for their own families and the city, and getting to process it communally, in a way that feels healthy. His work changed people and it was a real blessing. 

It’s because it came from the heart. He was a real empathetic, compassionate, same on both sides of the fence dude. He was one of those artists you just wanted to hug and say thank you too, because he helped you process how hard this life is.

I don’t have anything fancy to say about his work except that it helped me figure out this whole bullshit, that he taught me what it means to be an artist and make art. He made it accessible and doable, even if he was cranky and crotchety about it. Also meditation and being meditative in your own work. Meditation saves lives.

People who are a little bit older than me probably got into him through the original run of Twin Peaks. I got into him by checking out Mulholland Drive my first week of school. My roommates all accused me of just watching pornography but I got to have this whole private experience of thinking about the ideas in a movie for the first time, what movies can do, and knowing I would think about it forever. (“You will see me one more time if you do good. You’ll see me two more times if you do bad” is kinda my favorite line ever, sidebar.)

I have the rest of time to talk about things like dreams and archetypes and his perfectly unique conception of the American West. How good he was at finding faces that clearly feel things and have humanity, like Harry Dean or Laura Dern or Robert Forster. How funny but left-field powerful his little roles are in The Fabelmans or even Louie. How astonishing he was at sound design, how The Straight Story (also about death) is the greatest G-rated movie ever made, the value of stillness and repetition and having a routine you do every day, all these things, but I won’t. He’s my favorite filmmaker and I’ll get better thinking about it as I get older. I’ll just say this: at the memorial today, the sky was finally blue and it was a beautiful sunny day in Los Angeles."]]></description>
<dc:subject>2025 kalebhorton davidlynch death tolucalake losangeles harrydean lauradern robertforster twinpeaks mulhollanddrive film filmmaking tv television obituaries</dc:subject>
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<item rdf:about="https://kalebhorton.ghost.io/the-only-good-shows-ever-on-television/">
    <title>The Only Good Shows Ever On Television</title>
    <dc:date>2026-01-05T22:40:53+00:00</dc:date>
    <link>https://kalebhorton.ghost.io/the-only-good-shows-ever-on-television/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I was reading a list in Variety, one of those lunch break lists where you’re chewing your sandwich and see some faces you recognize and some words underneath that make you think “huh, that’s wrong” and then you finish your sandwich and throw away the wax paper and then the list is gone, like it never existed.

It occurred to me, reading this thing, that it presupposes you enjoy television. You turn it on and watch the shows people are talking about and it’s fine. I’ve spent most of my adult life, at least once in awhile, writing about television for money, so I assumed I like television too. It’s easy and everybody else does it. But now I’ve turned states and I’m trying to just be normal and I realize I don’t like TV. It’s basically a numbing agent, and it doesn’t work on me anymore. I just dissociate or think about dying.

Doesn’t matter how much people hyped up a given show or said it was totally my thing. Take Severance. Got recommended to me a lot by friends I trust. I made it 70 minutes before my brain decided it should have been directed by Spike Jonze, it should have been a 102 minute movie, and it should have come out in 2004. After that thought existed, I was cooked. I couldn’t pay attention anymore. I mean, I could, for money, but recreationally it was impossible.

Variety’s list was fine if you like TV. Steve Carell did give one of the best TV performances of the last 25 years in the sense that he kept a big network show in business for a long time, moved you through the world of the show, explained the rules, made you relaxed, whatever. He’s great.

But I didn’t watch that show because I don’t like TV. I’ve had good times with it, but it’s not my friend. I enjoy saying “oh wow, they’re on Alameda. That psychic is still there actually,” but only around other people, and they don’t enjoy hearing it. I figure there are other people like me out there who feel the same, so to that end, I’ve created my own list: a comprehensive ranking of the only good shows ever on television, in exact order. Looney Tunes is disqualified because those were actually supposed to be played in front of movies. Twin Peaks: The Return is also disqualified because it’s a film.

1. The Rockford Files, which is good even if you’re by yourself and can’t annoy anyone by saying “how does he get from Malibu to North Hollywood that fast?”

2. Actually The Sopranos, sorry
 
3. Columbo but not the revival on ABC, where there’s too much set-up and he’s Bugs Bunny but elderly

4. The Twilight Zone but only the ones Rod Serling wrote.

5. Letterman reruns

6. Sanford & Son

7. Jeopardy when Alex Trebek was alive but only if you swear you won’t audition for it

8. King of the Hill, especially when your life is ruined and nothing makes sense. Skip the ones where they switch to digital animation unless it’s one with Tom Petty

9. Eastbound & Down

10. Regis Philbin

11. The Larry Sanders Show but not if you’ve been laid off from a media job in the recent past

12. Newsradio but start emotionally distancing yourself in season four and skip season five

13. Dick Cavett

14. Get Smart

15. Really long Johnny Carson compilations on YouTube

16. Saturday Night Live but only old pirated episodes where you know NBC pulled some sketches and the musical guest from circulation

17. The Bob Newhart Show but you have to say “I had such a crush on Suzanne Pleshette” whenever she’s on-screen

18. Arrested Development but start emotionally distancing yourself in season three and skip seasons four and five

19. Serial Experiments Lain after you show a script for Zoloft, Lexapro, or Effexor

20. Really old sitcoms that were canceled early in the first season just so you can feel like you were definitely the last person on earth to watch them

21. True Detective season one as tribute to the creator and director who both died when their small plane flown by a non-instrument-rated pilot crashed in Ventura

22. Battlebots episodes on an old tube TV, on a homemade VHS tape of the original broadcast with the ads intact, preferably with somebody who was on the show and has problems with the failure of imagination that leads to wedgebots. Hi Don, I hope Washington state is treating you nice. I’ll get up there one of these days. I never have seen it. How similar is it to Medford?

23. Win Ben Stein’s Money

24. The Andy Griffith Show but only if you’re sick or took time off to quit smoking

25. Kids in the Hall but you gotta fast forward through a lot of it

26. Videos of people driving around a city you’re familiar with in a time period you’re not

27. Really long documentaries that aren’t about true crime. Bono can’t be in them either.

28. Go back in time 30 years and watch one of those shopping shows where it’s just knives spinning around really slowly for hours"]]></description>
<dc:subject>2025 kalebhorton tv television criticism thesopranos kidsinthehall andygriffithshow benstein timetravel battlebots vhs truedetective sitcoms serialexperimentslain arresteddevelopment bobnewhartshow snl saturdaynightlive nbc johnnycarson getsmart dickcavett newsradio regisphilbin eastbound&amp;down kingofthehill jeopardy alextrebek davidletterman sanford&amp;son thetwilightzone columbo therockfordfiles looneytunes sopranos</dc:subject>
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<item rdf:about="https://kalebhorton.ghost.io/the-end-result-of-my-herculean-big-bang-theory-spec/">
    <title>The End Result of My Herculean Big Bang Theory Spec</title>
    <dc:date>2026-01-05T22:31:18+00:00</dc:date>
    <link>https://kalebhorton.ghost.io/the-end-result-of-my-herculean-big-bang-theory-spec/</link>
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<item rdf:about="https://mbird.com/tv/a-thief-a-priest-and-the-parable-of-task/">
    <title>A Thief, a Priest, and the Parable of Task - Mockingbird</title>
    <dc:date>2025-12-25T16:28:49+00:00</dc:date>
    <link>https://mbird.com/tv/a-thief-a-priest-and-the-parable-of-task/</link>
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<item rdf:about="https://craigmod.com/onmargins/s02e04/">
    <title>W. David Marx — Blank Space: A Cultural History of the 21st Century — W. David Marx — On Margins — s02e04</title>
    <dc:date>2025-12-16T06:52:33+00:00</dc:date>
    <link>https://craigmod.com/onmargins/s02e04/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://craigmod.com/roden/109/ 
https://www.penguinrandomhouse.com/books/769187/blank-space-by-w-david-marx/ 

"Pop Culture Got Stale. Counterculture Went Right-Wing.
How the rise and fall of the nihilist hipster gave us the cruel reactionaries of today."
https://www.nytimes.com/2025/11/21/books/review/culture-right-wing-david-marx.html
https://archive.ph/idxdR

"Make Culture Weird Again
Even failures and half steps will be more interesting than the boring stuff."
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/?gift=j9r7avb6p-KY8zdjhsiSZzZAypQ-DyUUwPxyZrMsWaI
https://archive.ph/KJmQM ]]]></description>
<dc:subject>wdavidmarx craigmod 2025 culture japan analog internet web online media film television tv music josephkony 2012 bootsriley davidsolomon jordanpeterson blankspace history publishing distribution tastemakers criticism critics editing djs gatekeeping</dc:subject>
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<item rdf:about="https://craigmod.com/roden/109/">
    <title>Blank Spaces, Radicalized Offlineness, Curious Protagonists — Roden Newsletter Archive</title>
    <dc:date>2025-11-29T00:18:11+00:00</dc:date>
    <link>https://craigmod.com/roden/109/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Speaking of books you should nab. Longtime friend and member of the Craig Mod Cinematic Universe, W. David Marx, has a new book fresh off the presses: Blank Space: A Cultural History of the Twenty-First Century. I loved this book. I also hated it, in the sense that it affirmed my growing sense of dread around “cultural production” in 2025. I got to read it back in September, and I marked the hell out of it. And then David and I recorded a new episode of On Margins, the first in about five years.

The book is a look at the last twenty-five years of (largely) American pop-culture: art, film, music, and politics, as politics has veered firmly (entirely?) into mostly bad-faith entertainment. Spread out over Marx’s 380 (quick) pages, something’s off:
<blockquote>The first step in reversing cultural stagnation is to accept that artistic invention is a social good. And like so many other social goods, it isn’t necessarily going to have its production prioritized by the market. We — creators and audiences alike — have to make an effort to encourage bold new forms of culture. Even failures and half steps will be more interesting than overly market-tested products.</blockquote>
Reading Blank Space didn’t necessarily “radicalize” me, but it made me overtly grateful for the work I’m doing: work grounded in the world, physicality, relying on social media as little as possible, operating at “human scale” and creating as many “durable” and “deep” connections as possible, attempting to elevate everyone who’s involved. I’ve been lucky. I’m able to walk, to write, to photograph, and then collate all that into printed books. It’s easier than ever to sell printed books online thanks to companies like Shopify. And it’s easier than ever to form a relationship with a fulfillment warehouse, set up a DHL account, and ship the things around the earth. Global shipping is the 10th wonder of the world. I love that I work with talented printers and binders, paying their employees well. I love that I have readers who are OK with paying what my books cost. I like that the arc of the work is slow and loping, that daily updates might happen in spurts, but they are 2,000-5,000 words spurts, amidst an outsized walk, more like an ascetic ritual, calming, fullness-giving, the opposite of whatever it is you have to access to upload daily TikToks.

Work like mine has almost no representation in David’s book. There’s a ruthlessness that’s taken hold across all strata of cultural making (and life itself). Everything turned into a casino, “traps” galore. Billions as the only goal. Achieved celebrity? Start a coffee brand (or gin brand, or tequila brand; I’m shocked nobody is selling their own cigarettes). Leave “nothing on the table.” Epicurean maximizing. That sort of thing. The whole world in a swivet about every dumb breath by some dumdum. AI now turning the future protean. Models upending models within days. Solid ground made liquid for the next decade.

David’s book is funny. I mean, it’s heartbreaking, mainly. But you’ll laugh as your soul is pummeled. David quotes all the fools of the last twenty-five years. They are happy to shoot themselves in their own feet, again and again. The book is most tragic when it dips into politics. In our On Margins chat, we mention Obama, how his ascension symbolized some “completion” — “it was love triumphing over hate, and peace over war, and all sorts of things of the way we were told how things were going to play out because of the natural order of the world, that there would be some sort of correction and this was the correction.” It’s surreal now to think of that world in 2010. The iPhone basically still new. Obama in the White House. The full conversion of everything online to brain traps, to teleportation heroin, still years away. Back when you actually had to “follow” folks to see their content. 2010, just fifteen years ago, but about seven generations of mental life. Back when a trillion-dollar company was a pipe dream (Apple being the first to hit that number, in 2018; now it feels like a monthly announcement, Nvidia hitting $5T a month ago), back when you didn’t nab a $100B valuation as a startup before you even launched a product. Back when Apple’s own apps weren’t loaded with ads. Back when not everything was “recurring revenue” driven. Back when even non-institutional investors had a chance to get in on a company like Facebook or Google while they were still in ascendancy.

Still, around that (now seemingly Brigadoonish) time, I already had a growing sense of doom / skepticism around how much tech money was being bandied about:
<blockquote>Craig: Early 2008, 2009, 2010, I was very negative on Facebook. Very early because I remember explicitly that Facebook was eating up all the designers, uh, from Brooklyn who were doing genuinely interesting work. I remember being really depressed about that. But if Facebook offers you a million dollar salary — especially in 2008, 2009, 2010, it’s hard to turn down. But it felt like there was this incredible compromise that had started to happen.</blockquote>
And David, expanding on this point:
<blockquote>David: This is a really important point of the 21st century, which is I graduated in 2001, and I don’t think anyone around me, even the money hungry people were like, I’m going to be a billionaire. No, it was just on zero people’s minds. And the best was like, dude, did you know you could go work for an investment bank and within five years you could be making $1 million?</blockquote>
Anyway, you should absolutely read David’s book. It deals with all of this and more. His ability to synthesize vast swaths of history and criticism into sane, compressed chapters is inspiring. It’s a fun read, and may radicalize you, too, in better directions. Or just reaffirm the path you’re already on. Or just get you to step offline for a few moments."]]></description>
<dc:subject>craigmod wdavidmarx culture 2025 scale scaling human humanism society creativity internet web online shipping nvidia siliconvalley facebook meta capitalism google hipsters design history criticism art media film tv television writing howwewrite humanscale slow small making makers culturalproduction attention</dc:subject>
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<item rdf:about="https://www.penguinrandomhouse.com/books/769187/blank-space-by-w-david-marx/">
    <title>Blank Space: A Cultural History of the Twenty-First Century, by W. David Marx (2025): 9780593833995 | Penguin Random House</title>
    <dc:date>2025-11-28T23:41:41+00:00</dc:date>
    <link>https://www.penguinrandomhouse.com/books/769187/blank-space-by-w-david-marx/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A New York Times Book Review Editors’ Choice · A Washington Post Notable Nonfiction Book of 2025 · A People Best Book of November 2025 · An NPR Most Anticipated Book of Fall 2025

A revealing exploration of a quarter century of cultural stagnation, examining the commercial and technological forces that have come to dominate contemporary culture—from music and fashion to art, film, TV, and beyond

Over the past twenty-five years, pop culture has suffered from a perplexing lack of reinvention. We’ve entered a cultural “blank space”—an era when reboots, rehashes, and fads flourish, while bold artistic experimentation struggles to gain recognition. Why is risk no longer rewarded, and how did playing it safe become the formula for success? Acclaimed cultural historian W. David Marx sets out to uncover the answers.

In this ambitious cultural history, Marx guides us through the blur of the twenty-first century so far, from the Obama era to the rise of K-pop, from Paris Hilton to the Marvel cinematic universe, from Beyoncé and Taylor Swift to . . . Beyoncé and Taylor Swift, whose enduring influence highlights both their adaptability and the broader shifts in pop culture. Combining sociological, economic, and political insights with a deep dive into art, street culture, fashion, and technology, Blank Space dissects the rise of profit-driven, formulaic trends and the shifting cultural norms that often prioritize going viral over innovation. He reveals how backlash against indie snobbery and nineties counterculture gave rise to a “counter-counterculture”—one marked by antiliberal sentiment, the celebration of business heroes, and the increasing influence of industry plants and the elite class. In a world of crypto bros, nepo babies, and AI-driven art, Marx offers readers a much-needed dose of clarity and context.

Vibrantly narrated and sharply argued, Blank Space is an essential guide for anyone looking to understand the chaos of the twenty-first century, the trends, tastemakers, and icons who shaped it, and how we might push our culture forward over the next quarter century—through renewed emphasis on creativity, community, and the values that transcend mere profit."

[See also:
https://craigmod.com/onmargins/s02e04/

"Speaking of books you should nab. Longtime friend and member of the Craig Mod Cinematic Universe, W. David Marx, has a new book fresh off the presses: Blank Space: A Cultural History of the Twenty-First Century. I loved this book. I also hated it, in the sense that it affirmed my growing sense of dread around “cultural production” in 2025. I got to read it back in September, and I marked the hell out of it. And then David and I recorded a new episode of On Margins, the first in about five years.

The book is a look at the last twenty-five years of (largely) American pop-culture: art, film, music, and politics, as politics has veered firmly (entirely?) into mostly bad-faith entertainment. Spread out over Marx’s 380 (quick) pages, something’s off:
<blockquote>The first step in reversing cultural stagnation is to accept that artistic invention is a social good. And like so many other social goods, it isn’t necessarily going to have its production prioritized by the market. We — creators and audiences alike — have to make an effort to encourage bold new forms of culture. Even failures and half steps will be more interesting than overly market-tested products.</blockquote>
Reading Blank Space didn’t necessarily “radicalize” me, but it made me overtly grateful for the work I’m doing: work grounded in the world, physicality, relying on social media as little as possible, operating at “human scale” and creating as many “durable” and “deep” connections as possible, attempting to elevate everyone who’s involved. I’ve been lucky. I’m able to walk, to write, to photograph, and then collate all that into printed books. It’s easier than ever to sell printed books online thanks to companies like Shopify. And it’s easier than ever to form a relationship with a fulfillment warehouse, set up a DHL account, and ship the things around the earth. Global shipping is the 10th wonder of the world. I love that I work with talented printers and binders, paying their employees well. I love that I have readers who are OK with paying what my books cost. I like that the arc of the work is slow and loping, that daily updates might happen in spurts, but they are 2,000-5,000 words spurts, amidst an outsized walk, more like an ascetic ritual, calming, fullness-giving, the opposite of whatever it is you have to access to upload daily TikToks.

Work like mine has almost no representation in David’s book. There’s a ruthlessness that’s taken hold across all strata of cultural making (and life itself). Everything turned into a casino, “traps” galore. Billions as the only goal. Achieved celebrity? Start a coffee brand (or gin brand, or tequila brand; I’m shocked nobody is selling their own cigarettes). Leave “nothing on the table.” Epicurean maximizing. That sort of thing. The whole world in a swivet about every dumb breath by some dumdum. AI now turning the future protean. Models upending models within days. Solid ground made liquid for the next decade.

David’s book is funny. I mean, it’s heartbreaking, mainly. But you’ll laugh as your soul is pummeled. David quotes all the fools of the last twenty-five years. They are happy to shoot themselves in their own feet, again and again. The book is most tragic when it dips into politics. In our On Margins chat, we mention Obama, how his ascension symbolized some “completion” — “it was love triumphing over hate, and peace over war, and all sorts of things of the way we were told how things were going to play out because of the natural order of the world, that there would be some sort of correction and this was the correction.” It’s surreal now to think of that world in 2010. The iPhone basically still new. Obama in the White House. The full conversion of everything online to brain traps, to teleportation heroin, still years away. Back when you actually had to “follow” folks to see their content. 2010, just fifteen years ago, but about seven generations of mental life. Back when a trillion-dollar company was a pipe dream (Apple being the first to hit that number, in 2018; now it feels like a monthly announcement, Nvidia hitting $5T a month ago), back when you didn’t nab a $100B valuation as a startup before you even launched a product. Back when Apple’s own apps weren’t loaded with ads. Back when not everything was “recurring revenue” driven. Back when even non-institutional investors had a chance to get in on a company like Facebook or Google while they were still in ascendancy.

Still, around that (now seemingly Brigadoonish) time, I already had a growing sense of doom / skepticism around how much tech money was being bandied about:
<blockquote>Craig: Early 2008, 2009, 2010, I was very negative on Facebook. Very early because I remember explicitly that Facebook was eating up all the designers, uh, from Brooklyn who were doing genuinely interesting work. I remember being really depressed about that. But if Facebook offers you a million dollar salary — especially in 2008, 2009, 2010, it’s hard to turn down. But it felt like there was this incredible compromise that had started to happen.</blockquote>
And David, expanding on this point:
<blockquote>David: This is a really important point of the 21st century, which is I graduated in 2001, and I don’t think anyone around me, even the money hungry people were like, I’m going to be a billionaire. No, it was just on zero people’s minds. And the best was like, dude, did you know you could go work for an investment bank and within five years you could be making $1 million?</blockquote>
Anyway, you should absolutely read David’s book. It deals with all of this and more. His ability to synthesize vast swaths of history and criticism into sane, compressed chapters is inspiring. It’s a fun read, and may radicalize you, too, in better directions. Or just reaffirm the path you’re already on. Or just get you to step offline for a few moments."

"Pop Culture Got Stale. Counterculture Went Right-Wing.
How the rise and fall of the nihilist hipster gave us the cruel reactionaries of today."
https://www.nytimes.com/2025/11/21/books/review/culture-right-wing-david-marx.html
https://archive.ph/idxdR

"Make Culture Weird Again
Even failures and half steps will be more interesting than the boring stuff."
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/?gift=j9r7avb6p-KY8zdjhsiSZzZAypQ-DyUUwPxyZrMsWaI
https://archive.ph/KJmQM ]]]></description>
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    <title>We Used to Read Things in This Country | Noah McCormack</title>
    <dc:date>2025-10-31T22:14:02+00:00</dc:date>
    <link>https://thebaffler.com/salvos/we-used-to-read-things-in-this-country-mccormack</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The history of literacy is the history of class"]]></description>
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    <link>https://thebaffler.com/salvos/speak-and-sell-pinkham</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ms. Rachel and the disappearing world of books"]]></description>
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<item rdf:about="https://www.latimes.com/entertainment-arts/tv/story/2025-10-19/task-finale-hbo-mark-ruffalo-tom-pelphrey-brad-ingelsby">
    <title>'Task' finale: How the show's creator and costars see troubled fathers - Los Angeles Times</title>
    <dc:date>2025-10-24T21:36:44+00:00</dc:date>
    <link>https://www.latimes.com/entertainment-arts/tv/story/2025-10-19/task-finale-hbo-mark-ruffalo-tom-pelphrey-brad-ingelsby</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“‘Mare’ was about the moms — the damage that all the guys have caused and the women are kind of having to pick up the pieces of that,” Ingelsby says. “This [show] is all about the fathers and being left behind, seeing the damage they’ve done to their kids, how they’re going to fix that in their lives — or not be able to fix it. The guys who are actually doing the damage without knowing.”
Ingelsby says his uncle, who was an Augustinian priest, helped inspire the throughline of the series. 

“I’ve always been very intrigued by his idea of faith in God over the years, and how it’s changed over time, and what he believed once and what he believes now,” he says. “I was intrigued by the idea of a guy who, everything he held as truth, all the pillars of his life, have come crumbling down. And Robbie has a much different faith. And it’s through the gauntlet of the story, how their lives intersect, that they both get to navigate their own journeys of faith.”

Over dinner at a West Hollywood hotel, The Times sat down with Ingelsby, Ruffalo and Pelphrey to discuss their faith journeys, economic inequality, fatherhood — and Wawa, too. Here are edited excerpts from the conversation, which contains spoilers about the finale.

The themes of the show involve forgiveness and faith. Every person has experienced something in life that has tested those ideas. How has your own relationship to faith and forgiveness evolved as you’ve lived more life or taken on roles that ask you to live different experiences?

Pelphrey: My faith, to me, is when I got sober. God willing, Oct. 1, which is three days from now, it’ll be 12 years. That’s truly by the grace of God — you hear that phrase, but I genuinely, I mean that. That’s how I’ve experienced faith, through my sobriety. I was raised Catholic, but the experience I had at 31 was like in a different dimension to what I thought of religion or ideas. It’s one thing to have an idea, it’s another thing to have your heart opened. It’s definitely an important part of my life. And I think Brad did such a beautiful job conveying that. My grandma used to have one of these things when I was a kid — not a real gem, but like a glass cut thing so if you put it in the window, the sun shines through a million different ways, and the color goes everywhere. I feel like you [Brad] did that with some themes in the show where you’re like, “Let me just hold it up, and we’ll just look at it a few different ways.”

Ruffalo: My journey with faith is probably very similar to Tom’s. When you get a job or something, it can take you on a journey that you’re ripe to take. It touches your life at a very moment where you need it. I’d say, after my brother died, the whole notion of faith just went out the window for me. But oddly enough, I have a lot of addiction, alcoholism in my family. I say, either you are one or you love one. When you love somebody who’s struggling with that, it takes a lot of faith to let them go and to trust it will be OK. My friend says to me, “They got a God and you ain’t it.”

My faith has been renewed, actually, through Tom [the character] — he is an alcoholic. It’s touched my life in so many ways, even with my brother, that it’s like where I lost my faith and where I gained my faith again has been through this journey with alcoholism and drug addiction. And I waver. You look at the world and you’re like, “Where is God in this? Please show yourself. ” But the thing about faith is it requires you to believe without any evidence of its existence. I’d rather believe in that than nothing. Although, I fought him [Brad] all the time. I was like, “He’s [Tom] not really praying here. He’s trying to pray. He’s going through the actions of praying, but he can’t quite get to the opening sentence, which is “ ... God ...” He does pray, eventually, but it’s a journey."

...

"Mark and Tom, as sons and fathers, how did you think about the father-child relationships of these two men and the collateral damage of their choices?

Ruffalo: It’s so hard to be a father, especially now because this generation is like, “We’re not going to do it the way our parents, our fathers did. We see that there’s another way to do it. We’re actually talking about it.” At the same time, we don’t exactly know what it is that we should do differently, plus we have the responsibility of, financially, keeping it together. It’s obviously hard to be a mom too. These guys are doing the best they can."]]></description>
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    <title>ASÍ SE FABRICAN LOS TÍTERES DE 31 MINUTOS #LaJuntaNEWS - YouTube</title>
    <dc:date>2025-10-15T04:29:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oulkMCvkU_w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sebastián Ríos, el encargado de fabricar y darle vida a los títeres de 31 minutos llega a las News a contarnos todos los detalles sobre su trabajo junto a los personajes más queridos de la televisión chilena y de Latam 📺"]]></description>
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<item rdf:about="https://www.theverge.com/business/793525/bari-weiss-cbs-news-glass-cliff">
    <title>Bari Weiss steps onto the CBS News glass cliff of doom | The Verge</title>
    <dc:date>2025-10-10T20:17:24+00:00</dc:date>
    <link>https://www.theverge.com/business/793525/bari-weiss-cbs-news-glass-cliff</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is the glass cliff to end all glass cliffs. You’re Marissa Mayer at Yahoo without the Googler street cred. You’re Nancy Dubuc at Vice without the string of hit TV shows. You’re Linda Yaccarino at Twitter without the advertiser relationships. You have been hired as a sop to a Trump administration that is actively hostile to the actual free press, and you will be made to oversee wave after wave of layoffs until you quit or get fired and the entire news division is shut down in a final spasm of cost-cutting after the next inescapable media merger.

No one can save CBS News, because it was made for a media ecosystem that is now dead. Broadcast television is slowly circling the drain, its aging audience drifting toward the great inevitable. Younger people are getting their news from TikTok and Instagram in ever-greater numbers, and they trust institutional media less than ever. CBS in particular — that’s your new company, now — has the oldest audience in primetime TV. These folks aren’t The Free Press’ assiduously courted “classical liberals,” either. It’s normie grandparents, a bunch of whom are planning to appear at the next No Kings rally. I might invoke Edward R. Murrow, but they remember him. They don’t have any goodwill toward you. They don’t know who you are at all. And they are not going to defend you when you screw up.

You are now stuck claiming your goal is to win back younger audiences, which you cannot do, while your real job is to manage decline. There is no way to win here, only slightly better ways to lose."]]></description>
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<item rdf:about="https://onethingnewsletter.substack.com/p/the-revenge-of-elitism">
    <title>🟧 The revenge of elitism - One Thing</title>
    <dc:date>2025-10-02T21:03:25+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/the-revenge-of-elitism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Everywhere I look I see elites, which is to say, people who already have power (or clout, fame, and capital) leveraging their power to gain more of it and to exert authority over other people. What’s more, the top-down hierarchy has become somehow cool — desirable or at least inescapable and thus ripe for adoption and appropriation. The crackpot tech philosopher Curtis Yarvin calls for an American king, which Trump acts like anyway. The Trump family forms a royal court that is busily extracting money from their demesne like any crew of evil princes of centuries past. Hangers-on compete to get closer to the center, or they just go to Butterworth’s in DC to bask in the elitist aura. (Even as government workers, the non-elites, are forced out of their jobs and lives.)

In culture, print magazines are getting new, young editors-in-chief: see Noah Johnson at Highsnobiety, Mark Guiducci at Vanity Fair, and Chloe Malle at Vogue, who instantly become power brokers themselves. People genuinely care about Taylor Swift’s and Charli xcx’s weddings. (If you don’t get married abroad are you really elite?) Celebrities all have podcasts where they interview other, even more famous, celebrities — see Amy Poehler’s “Good Hang.” And we listen to them, reinforcing their fame. Perhaps part of it is the fossilization of audiences: it’s harder to build a crowd online organically now, so it helps if everyone knows you already. Your clout can translate from film to TV to TikTok to YouTube. Or the elites have realized you can make real money on their own from the internet, so they’re jumping on board.

In tech, AI is a vector of total elitism, with its practitioners at the top. Sam Altman already acts like king of the world, and when he decides it’s a good time to launch a feed of video slop, he does it, and millions of piggies follow. The new OpenAI video advertisements glorify living your life as ChatGPT instructs you to, in faux-grainy, Ryan McGinley-ish hipster clips. Under AI, the robot is the true elite and the next layer down are those who adjust its variables, like worshipers tweaking the corpse of a dead god. There is no longer the hope of social-media “democratization” or lowering the barrier to entry. The self-negating idea of “AI-enabled creativity” is just culture as dictated by Zuckerberg and Altman and Musk, molded into shape by the algorithm and the LLM.

You can do very well right now by catering to these elites, peddling their ideas and following the pathways they build. (Congratulations to Bari Weiss for posting her way to wealth and dictatorial power over a television channel, for some period of time.) To be anti-elitist, however, is to stop caring about attention as a metric of quality, because those who already have it will always win. It requires caring about the people who aren’t on magazine covers and don’t have hundreds of thousands of followers. It requires engaging in smaller-scale, more private, and more coherent efforts — the community of friends and collaborators, people whose opinion you respect (as opposed to the passive hoards of onlookers and bots). Newsletters are a part of this, as is throwing your own parties. Some people call for the return of “selling out”, or the public shaming of this lean in to elitism. You could go further and say: Don’t give your attention to those who you think have sold out. Elitism doesn’t need to be so aspirational."]]></description>
<dc:subject>kylechayka 2025 elitism elites society curtisyarvin monarchism power culture donaldtrump markguiducci highsnobiety noahjohnson vanityfair chloemalle vougue taylorswift charlixcx celebrity celebrities amypoehler podcasts podcasting film tv television youtube tiktok attention audience samaltman opeanai chatgpt markzuckerberg llms algorithms elonmusk democracy democratization bariweiss wealth sellingout sellouts aspirations emilychang ambition menciusmoldbug darkenlightenment nerdreich</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=8mXaccYFKRQ">
    <title>What Is Blaccent And Why Do People Keep Using It? - YouTube</title>
    <dc:date>2025-09-30T22:15:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8mXaccYFKRQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There’s a pattern of white and non-Black performers using "Black English" or "Blaccent" to gain notoriety. These performers are being called out (and canceled) for cultural appropriation, yet Blaccent is becoming more popular, with some people proclaiming Blaccent to be the modern internet-speak. What is the problem with using a Blaccent? And what does history tell us about the origins and evolution of Blaccent?

Resources:
Cambridge University Press. Not just the same old show on my radio: An analysis of the role of radio in the diffusion of black music among whites in the south of the United States of America, 1920 to 1960.
https://www.cambridge.org/core/journals/popular-music/article/abs/not-just-the-same-old-show-on-my-radio-an-analysis-of-the-role-of-radio-in-the-diffusion-of-black-music-among-whites-in-the-south-of-the-united-states-of-america-1920-to-19601/44474BC5122012991B9EBF9290984986

Spinditty. WDIA: The First Black Radio Station in the U.S.
https://discover.hubpages.com/entertainment/The-First-Black-Formatted-Radio-Station-in-the-United-States

The Journal of Human Resources. Speech Patterns and Racial Wage Inequality. https://eml.berkeley.edu/~webfac/moretti/e251_s09/grogger.pdf

Credits:
Director: Dolly Li
Producer: Tien Nguyen
Consulting Producer: Danielle Bainbridge
On-camera appearance by: Danielle Bainbridge
Written by: Dolly Li and Tien Nguyen
Voiceover by: Kiana Taylor
Director of Photography: Brian Inocencio
Online Editor & Motion Graphics: Travis Hatfield
Assistant Editor: Josaen Ronquillo
Motion Graphics: Jonathan Gil
Research Assistant: Kiana Taylor
Makeup Artist: Dawn Coleman
Set Designer: Tori Laxalt
Fact Checker: Yvonne McGreevy

Post-production services & facilities provided by: Flash Cuts
Executive Producer for Flash Cuts: Eurie Chung
Executive Producers for CAAM: Stephen Gong, Donald Young
Supervising Producer for CAAM: Sapana Sakya
Coordinating Producer for CAAM: Czarina Garcia
Executive in Charge for PBS: Maribel Lopez
Director of Programming for PBS: Gabrielle Ewing

This program is a production of Plum Studios and the Center for Asian American Media (CAAM)."]]></description>
<dc:subject>2022 dollyli blaccent language race racism appropriation culturalappropriation elvispresley radio sound culture music bigmamathronton us history daniellebainbridge tv televison amosandandy greatmigration greatdepression stereotypes awkwafina aave internet web online doublestandards solidarity</dc:subject>
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<item rdf:about="https://jasmi.news/p/mills-baker">
    <title>infinite cornucopia (ft. mills baker)</title>
    <dc:date>2025-09-26T01:33:38+00:00</dc:date>
    <link>https://jasmi.news/p/mills-baker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["literacy crisis, humans vs. LLMs, parenting after AGI"

[on YouTube:
https://www.youtube.com/watch?v=KcO6-1tFi88

"Today’s podcast features the brilliant and singular Mills Baker. Formally, he’s the Head of Design at Substack, where we met, and also fallibilist, New Orleanian, and OG blogger extraordinaire. 

Among other things, we discuss:

0:00:32 is text dead?
0:26:00 the case for novels + incel lit
0:45:12 debating LLMs vs. human cognition
1:01:44 parenting for a post-AGI world
1:08:44 reasons for & against writing
1:20:05 girardian scapegoating

Transcript: https://jasmi.news/p/mills-baker "]]]></description>
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    <title>&quot;We See the Audience as Marks!&quot; the Psychology of Manipulation in Film ft. Samantha Youssef - YouTube</title>
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    <title>True Hollywood Stories on the Military Industrial Complex Featuring Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:08:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XQM5s3ZEctc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Saturday and Sunday Palestinian-Ukrainian artist, character animator, and award-winning animation director Samantha Youssef will join Saturdays with Renee and MAKC for back to back episodes! Samantha has worked in both feature films and video games for Walt Disney Animation, Filmax, and Ubisoft. Folks have probably seen some of her previous conversations with Dr. Jared Ball on Black Liberation Media and IMIXWHATILIKE and her viral instagram reels about Superman and Andor. 

[Saturday:

"Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware"
https://www.youtube.com/watch?v=Toak26j_Z-Q ]

On Sunday's show specifically we'll get into the relationships between Hollywood and the Military Industrial Complex and hopefully touch on some aspects of these relationships that may not be exactly secrets, but are not well known by many. Youssef is a critical film scholar with a great deal of personal experience working with major Hollywood and video game studios, and she is sure to help us sharpen our own critical analyses of the popular culture industry in the heart of empire. 

Here is Samantha's linktree to follow her on social media, support Palestinian mutual aid, and find her work: https://linktr.ee/samanthasketches

Joining us in this roundtable discussion with Samantha we be Dr. Jared Ball (IMIXWHATILIKE/Black Liberation Media), Renee Johnston (Saturdays With Renee/BLMedia), and Mtume Gant (Within Our Gates).

THEATERS OF WAR: THE MILITARY-ENTERTAINMENT COMPLEX - Tim Lenoir and Henry Lowood: 
https://web.stanford.edu/class/sts145/Library/Lenoir-Lowood_TheatersOfWar.pdf

Visit https://lifeline4gaza.com/ to find and support nearly 1,000 Palestinian survival campaigns in Gaza.

Some of Samantha's previous appearances with Dr. Jared Ball

 Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef
https://www.youtube.com/watch?v=wo7pXp1SgLY

""We See the Audience as Marks!" the Psychology of Manipulation in Film ft. Samantha Youssef"
https://www.youtube.com/watch?v=cNN65kgDpwY

"Encoding Empire with Samantha Youssef"
https://www.youtube.com/live/Vev644NSDks "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Toak26j_Z-Q">
    <title>Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware - YouTube</title>
    <dc:date>2025-08-18T04:08:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Toak26j_Z-Q</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SamanthaYoussef #JaredWare #Hollywood 

PART TWO via @MAKCapitalism
https://www.youtube.com/live/XQM5s3ZEctc?si=J7a4dGM3P8up5zhh

✅Renee Johnston is a registered member and state committee chair for the Green Party of NJ, a member of the Black Alliance for Peace, and a political writer for Public Square Amplified (http://www.publicsq.org). Her many musings and random rabbit hole research can also be found on http://www.isyourlifebetter.com."]]></description>
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<item rdf:about="https://slate.com/technology/2025/07/ai-artificial-intelligence-peter-thiel-dangerous-marshall-mcluhan.html">
    <title>A.I.: Marshall McLuhan warned us about folks like Peter Thiel. He died in 1980.</title>
    <dc:date>2025-08-02T04:07:30+00:00</dc:date>
    <link>https://slate.com/technology/2025/07/ai-artificial-intelligence-peter-thiel-dangerous-marshall-mcluhan.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Marshall McLuhan was warning us about the internet long before it was invented."

[See also:

"Catching up to (with?) McLuhan
"McLuhan: What If He's Right?" asked Tom Wolfe in 1965. "Turns out he was right" answers Nick Ripatrazone in Slate this week."
https://mcluhan.substack.com/p/catching-up-to-with-mcluhan ]]]></description>
<dc:subject>2025 marshallmcluhan nickripatrazone media peterthiel academia highered highereducation andywarhol johnlaennon rossdouthat julianhuxley tv television catholicism catholicchurch innovation technology internet socialmedia culture online web ai artificialintelligence tomwolfe</dc:subject>
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<item rdf:about="https://www.scottishwatches.co.uk/2023/11/20/scottish-watches-podcast-519-chatting-with-allen-farmelo-about-watches-bikes-audio-and-a-new-app-for-us-all/">
    <title>Scottish Watches Podcast #519 : Chatting With Allen Farmelo About Watches, Bikes, Audio and A New App For Us All - Scottish Watches</title>
    <dc:date>2025-07-25T08:52:09+00:00</dc:date>
    <link>https://www.scottishwatches.co.uk/2023/11/20/scottish-watches-podcast-519-chatting-with-allen-farmelo-about-watches-bikes-audio-and-a-new-app-for-us-all/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://open.spotify.com/episode/5Uy0ow9rjtbdSbqT0bM3pj
https://podcasts.apple.com/us/podcast/scottish-watches-podcast-519-chatting-with-allen/id1448576480?i=1000635376350

referenced:

Four Arguments for the Elimination of Television, by Jerry Mander (1978)
https://en.wikipedia.org/wiki/Four_Arguments_for_the_Elimination_of_Television ]]]></description>
<dc:subject>scottishwatches allenfarmelo 2023 watches tolisten motorcycles watchwriting journalism media reporting pr internet web online hype hypecycle publications marketing business buzz design tv television jerrymander pressreleases socialmedia understatement ollech&amp;wajs panerai swatch hamilton constantescapement girard-perregaux truth influence influencers alternativefacts inequality gildedage society luxury status aesthetics socialjustice ethics onlywatch watchjournalism watchreporting perezcope josepereztroika joseperez</dc:subject>
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<item rdf:about="https://www.nytimes.com/2025/07/20/style/podcast-video-audience.html">
    <title>Popular Podcasts Like Joe Rogan and Theo Von Are All Video Now. Who Is Watching? - The New York Times</title>
    <dc:date>2025-07-22T19:35:36+00:00</dc:date>
    <link>https://www.nytimes.com/2025/07/20/style/podcast-video-audience.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An audio-only medium spawned a giant industry that is now largely focused on video."

...

"At the highest level, the audience for video podcasts is simply people who consume podcasts.

“Who is watching these?” said Eric Nuzum, a podcast strategist. “A person who loves podcasts who happens to be near a screen.”

Indeed, according to an April survey by Cumulus Media and the media research firm Signal Hill Insights, nearly three-quarters of podcast consumers play podcast videos, even if they minimize them, compared with about a quarter who listen only to the audio. Paul Riismandel, the president of Signal Hill, said that this split holds across age groups — it’s not simply driven by Gen Z and that younger generation’s supposed great appetite for video.

But dive a bit deeper into the data, and it becomes clear that how people are watching podcasts — and what counts as watching — is a far more revealing question. According to the Signal Hill survey, about 30 percent of people who consume podcasts “play the video in the background or minimize on their device while listening.” Perhaps this person is folding laundry and half-watching “Pod Save America,” or has “The Joe Rogan Experience” open in a browser tab while they do busy work at the office.

That describes Zoë McDermott, a 31-year-old title insurance producer from Pennsylvania, who said she streams video of Theo Von’s show on her phone while she works.

“I don’t have the ability to watch the entire thing through, but I do my glance downs if I hear something funny,” Ms. McDermott said. “It’s passive a little bit.”

Still, this leaves everyone else — more than half of YouTube podcast consumers, who say they are actively watching videos. Here, it gets even trickier. YouTube, the most popular platform for podcasts, defines “views” in a variety of ways, among them a user who clicks “play” on a video and watches for at least 30 seconds: far from five hours. And the April survey data did not distinguish between people who were watching, say, four hours of Lex Fridman interviewing Marc Andreessen from people who were viewing the much shorter clips of these podcasts that are ubiquitous on TikTok, Instagram Reels, X and YouTube itself.

All of which makes it hard to pinpoint a “typical” podcast viewer. Is it a couple on the couch with a bucket of popcorn, streaming to their smart TV? Is it a young office worker scrolling through TikTok during his commute? Or is it the same person engaging in different behavior at different points in the day?

Alyssa Keller, who lives in Michigan with her family, said sometimes she watches “The Shawn Ryan Show” on the television with her husband. But more often, she puts the video on the phone for a few hours while her children are napping. This means she sometimes has to watch marathon episodes in chunks.
“I’ve been known to take multiple days,” she said. “Nap times only last for like two hours.”

In February, YouTube announced that more than a billion people a month were viewing podcasts on its platform. According to Tim Katz, who oversees partnerships including news and podcasts at YouTube, that number is so large it must include users who are actually mainlining five-hour talk shows.

“Any time you have a number that large, you’re going to have a broad swath of people consuming in lots of different ways,” Mr. Katz said.

Recently, The New York Times asked readers if and how they consume video podcasts. Many of the respondents said they played video podcasts in the background while attending to work or chores, and still treated podcasts as audio-only products. A few said they liked being able to see the body language of podcast hosts and their guests. Still others said that they didn’t like video podcasts because they found the visual component distracting or unnecessary.

Video can have its drawbacks. Lauren Golds, a 37-year-old researcher based in Virginia, said that she regularly hate-watches podcasts at work — in particular “On Purpose,” which is hosted by the British entrepreneur and life coach Jay Shetty. She said she’d had awkward encounters when co-workers have looked at her screen and told her that they love the show she’s watching.

“There’s no way to say it’s garbage and I’m watching it for entertainment purposes to fill my need for hatred,” Ms. Golds said.

One thing a “typical” podcaster consumer is less likely to be these days is someone listening to a full-attention-required narrative program. Say “podcast” and many people still instinctively think of painstakingly produced, deeply reported, audio-only shows like “Serial” and “This American Life,” which listeners consumed via audio-only platforms like Apple Podcasts and the iHeartRadio app. Traditional podcasts relied on host-read and scripted ads to make money, and on media coverage and word of mouth for discovery. And it was a lot of money, in some cases: In 2019, to take one example, Spotify acquired Gimlet — one of the defining podcast producers of the 2010s — as part of a $340 million investment in podcast start-ups.

Now, the size of the market for video podcasts is too large to ignore, and many ad deals require podcasters to have a video component. The platforms where these video podcasts live, predominantly YouTube and Spotify, are creating new kinds of podcast consumers, who expect video.

Ms. McDermott, the Theo Von fan, said the video component made her feel like she had a friendly guest in her home.

“It feels a little more personal, like somebody is there with you,” she said. “I live alone with my two cats and I’m kind of in a rural area in Pennsylvania, so it’s just a little bit of company almost.”

The world of podcasts today is also far more integrated into social media. Clips of video podcasts slot neatly into the Gen Z and millennial behemoths of TikTok and Instagram. The sophisticated YouTube recommendation algorithm suggests relevant new podcasts to viewers, something that wasn’t possible in the old, siloed model on other platforms. To get a sense of just how much things have changed, imagine the viral podcast appearances of the 2024 presidential campaign — Donald J. Trump on Theo Von’s podcast and Kamala Harris on “Call Her Daddy” — happening without YouTube, TikTok, Instagram and X. You can’t."

...

"The many ways that Americans now consume podcasts — actively and passively, sometimes with another device in hand, sometimes without — bears an obvious similarity to the way Americans consume television."

[archived:
https://archive.ph/IFuZV ]]]></description>
<dc:subject>podcasts podcasting howweread reading internet online web video youtube 2025 via:javierarbona josephbernstein iraglas radio thisamericanlife tv television cable theovon lexfridman shawnryan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.whatsonweibo.com/yearnings-dreamcore-and-the-rise-of-ai-nostalgia-in-china/">
    <title>Yearnings, Dreamcore, and the Rise of AI Nostalgia in China | What's on Weibo</title>
    <dc:date>2025-07-21T21:59:44+00:00</dc:date>
    <link>https://www.whatsonweibo.com/yearnings-dreamcore-and-the-rise-of-ai-nostalgia-in-china/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From China’s first soap opera Yearnings to the rise of AI-fueled nostalgia."

...

"Dreamcore is an internet aesthetic and visual style—popular in online communities like Tumblr and Reddit—that blends elements of nostalgia, surrealism, and subconscious imagery. Mixing retro images with fantasy, it evokes a sense of familiarity, yet often feels unsettling and deserted. 

The Chinese-style dreamcore (中式梦核), which has become increasingly popular on platforms like Bilibili since 2023-2024, is different from its Western counterpart in how it incorporates distinctly Chinese elements and specifically evokes the childhood experiences of the millennial generation. Content tagged as “Chinese-style dreamcore” on Chinese social media is often also labeled with terms like “nostalgia” (怀旧), “childhood memories” (童年回忆), “when we were little” (小时候), and “Millennial Dream” (千禧梦)."

[archived:
https://archive.ph/ELXgt ]]]></description>
<dc:subject>2025 manyakoetse china nostalgia memory dreamcore tumbr reddit aesthetics surrealism childhood language chinese socialmedia tv television</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://harmonyholiday.substack.com/p/poem">
    <title>Poem - by Harmony Holiday - Black Music and Black Muses</title>
    <dc:date>2025-07-21T21:19:47+00:00</dc:date>
    <link>https://harmonyholiday.substack.com/p/poem</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A catastrophe that is experienced will often seem eerily like its representation            

I don’t think child stars should exist
Or catastrophes, nor witnesses of either, nor the stark cinematic whiteness of stars on night sky in the desert,  moon phlegm
that pale dilemma between elemental and culling, a cure for longing    for angels gone                  stale by morning, pale blue morning     stalemate        demeaning mating calls  of sparrows   

Where  experience abandons  dreams to inhabit machines and become a simulation and the soul is dead and craves a new body  as if it was animated by flesh  and not captive  there in error       proof     we are moving backwards      barbaric sophistication   of  inversions  and bloodless digital incisions     a suture for every  syllable  as it bleeds out   and      the kids  die early      of being too  seen      disappeared  into pictures       I loved them    I could not save them    from neon  EMF  or  openAI systems   from  rendition   from the defense  department       just  today      just the sun’s regular leverage lunging out and monstrous  with  affects from the next world   and    no one      to trust  them  to       

The other  stars would not exist without child stars       nor would any   celebrities    they’re screaming against kings  into the corporate monarchy   everybody’s brain  leaking  slogans           sad virus of   the final  humans   who are not themselves but   their likenesses spread out   as  junk DNA across each metropolis      brisk poison   settling into billboards like the determined women who take up knitting underground on commutes   are disappearing into phones and prisons   which also should not exist, which would solve the cities where you can’t see stars anyways for all the dead architects     and their phallic legacy 

I think movies might be a disease     we enjoy catching     we never recover from 
A grieving sickness       rage sickness       displaced magic   a  mass addiction to reenactments of childhood  of the true love we only   seek   in movies   though it can be   found   in the silent trembling of a blade of grass beneath the shins    of two  friends who have always been in love    and hidden it from one another    we’re unashamed in movies 
    The one about this shamelessness begins with a gratuitous  tragedy  and explains why later  or not at all   kills off the hero   leaves the villain    to  raise   their children     it is redundant like all fantasies        it’s yours

But have you seen that footage of Elvis serenading a seven year old girl with one of his goofy love songs 
his thick docile Memphis mouth impeded by dull lust and entitlement      while she dances for him like a native held hostage in the Hollyhock    colony       lukewarm Honolulu?   

Have you?

What is child trafficking, what is romancing a child on stage? 
I’m invited to try out for Jeopardy,   made it 
If you remove child stars from American culture    the underground cities  come up and flood the void they leave  with sepsis        bubble gum scented lipstick    doll limbs    stuffed  lions   the burning loins of leading men 

a  species  of spectators   with nothing  to   watch   their  eyes   as festering swords   for wings   wayward  smoked  out    feline    feeling      we were  supposed  to be children  the whole time, here,  the whole  earth      according  to God

So why did they punish Michael  for  soul   retrieval  that  sickness    that  imposed meekness of our own refusal to look away             


I don’t think museums should exist, either, and I have gorgeous reasoning  
They facilitate  dessections  of dead and ruined  kids    like    rotten stars held together by refrigeration and markets, butchers, fake cabarets 
Both museums and starchildren  ask you to pretend they  are normal and belong to you as leisure     
that their acts of self-surveillance are sweet and benevolent,
 that it’s ok to desire what you cannot  touch   or hold       to pin it   up    and fabricate  a hunger     so somber   so  funerary       it’s going to feel like dying          when they leave     like Gershwin’s    delicate devotional urban         mammies    insisting on their own demolition      strapped to the missile   in my   blue   note      red  note         voice  note           scopophilia    bloated    with     the new danger,     that what you’re  looking at is  artificial         a fictional entity invoked by      your desperation to be entertained    a minstrel eats a whole leg of chicken in one gulp, no chewing                    true false thing

Is it ok then?

If we invent children with the new computers and make them famous, like ideas or songs that can live outside of bodies         the dense logic of  pop philosophers made into girl groups        and donated to the museum     in the images of children  turned  starward ?       No.   

This museum fantasy   was about controlled demotion    the krill   the siphon in the eye of the muse infesting her  with your desire    

   The end of happy endings for sad children  who  die young  on stage

The end of watching them and hijacking that sorrow for undeserved resurrection 

Not to mention 
What not to mention   ends there       we tell-all   we   divulge   we  are no longer coy   or common 

Would you come back as one in your next life       a Michael  a child on television  even a minor spectacle or near casualty of war with a small scar somewhere or tattoo so it’s harder to steal you   and that vengeance that reads as ambition? 
An incomplete mythological world whose consummation lies outside of itself  &       starbirth   
Watch  them       shatter                and mend   just for us                  just on earth 

Blood gushing from a heart you love with no screen to obstruct your view, have you ever seen that?  "]]></description>
<dc:subject>harmonyholiday poetry poems children childstars 2025 celebrities performance music film tv televison attention</dc:subject>
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<item rdf:about="https://onethingnewsletter.substack.com/p/temporal-realness-is-the-hottest">
    <title>🟧 Temporal realness is the hottest commodity</title>
    <dc:date>2025-07-16T04:47:22+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/temporal-realness-is-the-hottest</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’re living in the era of live culture."

...

"An essay on the flight of digital media toward cable television and the turning cultural tide toward the personal, the finite, the IRL. The best restaurant is the one you don’t post."

...

"Kyle Chayka: TBPN (Technology Business Programming Network) is a livestreamed, daily video show broadcast by two tech bros who dress for the camera in crisp shirts and jackets. They commentate on the day’s tech gossip like a cable news show or a sports panel, which they essentially are making, but one broadcast over YouTube and X instead of traditional television. It reaches an insider-internet audience and is beloved of tastemakers like Emily Sundberg and Taylor Lorenz. The other day, the tech publication The Information launched TITV, a livestreamed, daily video show about the tech industry. They just had Mark Zuckerberg do a live interview about AI. TBPN fans called out TITV as a copycat, but no one owns a format in media, and anyway, everyone is just copying cable. As Ben Smith posted on X about Fox News licensing a podcast, “It's all becoming TV …”

I don’t think it’s just about TV. The media industry’s flight to audio, video, livestream, conference is about a larger movement toward real-time, highly textured, human person-driven interaction. We consumers are suddenly awash in voices and faces chattering at us, each trying to win a slightly larger slice of our dwindling trust as the rest of the information ecosystem is flooded out by AI slop and NSFW chatbots sponsored by Elon Musk. The creator era is an anxious response to the bland automation of writing and the enshittification of search and the rest of the internet. The only way we can reliably feel (if not wholly know) that something is human made is if we see it coming out of a human body, ideally one that we know physically exists. Smith calls his company Semafor’s conference and talk-hosting business “live journalism.” (Maybe not his coinage but the most active current usage.) The media consultant Brian Morrissey, recapping a podcast interview in his Rebooting newsletter, observed that live-ness is marketable:

<blockquote>Brands are turning back to IRL experiences. ABM thinks we’re in the early stages of a return to real-world moments. Not mass events, but the kinds of physical experiences that actually stick with people. That could be a smart creator dinner, a useful activation at a festival, or just something that connects to a moment in people’s lives.</blockquote>

We’re in the wider era of Live Culture, in which we desperately want to know, to be reassured, that what’s in front of us is real. This urge might be semi-subconscious, a drift toward the real-time (or the appearance of such) and a slow dismissal of the pre-made. Livestreamed video is hard to fake, and a live interview is, on some baseline level, authentic. The spoken language of a three-hour podcast episode is messy, meandering, and often internally inconsistent, but it has the tinge of realness that written text doesn’t. (Hence the parasocial stickiness of Donald Trump going on Theo Von.) A personal testimonial on front-facing camera is more authentically Live than a It Happened to Me personal essay. There’s a reason the NYT is putting all of its star journalists on video. (My employer, The New Yorker, is producing video podcasts clips of its very fun culture podcast Critics At Large.)

Live Culture isn’t just media, though. It’s everything. Anna Kornbluh identified “immediacy” as the house style of late capitalism in her 2024 book of the same title. “Immediacy rules art as well as economics, politics as much as intimacy,” Kornbluh wrote. Immediacy has an “insistence that mediation recede,” in other words, that things are as direct as possible. When I think about which forms of cultural are most valuable in this particular moment, they are often about unmediated experience, live-ness. It’s the arena concert, a multi-sensory spectacle, quasi-spiritual experience of Sabrina Carpenter with different dance moves at each performance (and Taylor Swift and Beyoncé and Phish, lol, before her). It’s the buzzy restaurant, a room where you can either be there or not be there, there is no ambiguity to getting handed a martini. What’s more, it’s the restaurant table, surrounded by your high-clout friends, having a conversation that only you can hear. It’s the vacation destination, an obscure bastide or finca or hot spring glimpsed in the corner of Instagram posts.

These things are the opposite of scalable and replicable. Live culture is finite. It exists in the moment and then it’s gone, except perhaps for the artifacts of digital content it leaves behind, spun off into TikTok, relied on to advertise what already happened and convey the aura of realness, building hype for next time. (Substack held a reading at a Manhattan bathhouse, in the pool.) We bounce between the desire for privacy and the temptation of total visibility, secrecy for the insiders and exposure for the normies. You have to hide from the looming omniscient AI. Of course, we could just do something and shut up about it, host a hidden rave, install your paintings in the woods, send an email to yourself. But then no one would know about it, and culture requires a public. Am I trying to coin something here? No, I am not a trend forecasting agency. I am just making notes in real time, responding to the moment, trying to test the wind. Because that’s all there seems to be these days."]]></description>
<dc:subject>2025 kylechayka streaming media television cable cabletelevison tv tbpn livestreaming internet web online live imediacy latecapitalism annakornbluh latestagecapitalism</dc:subject>
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<item rdf:about="https://daily.jstor.org/race-and-american-pop-culture-in-zainichi-stories/">
    <title>Race and American Pop Culture in Zainichi Stories - JSTOR Daily</title>
    <dc:date>2025-07-12T00:42:25+00:00</dc:date>
    <link>https://daily.jstor.org/race-and-american-pop-culture-in-zainichi-stories/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A close reading of the 1996 novel GO suggests zainichi identity is in dialogue with multiple national cultures, including American."

...

"International audiences likely recognize the name of the zainichi community—ethnic Koreans living in Japan as a result of colonial-era migration—because of Min Jin Lee’s acclaimed 2018 novel Pachinko, a sweeping multi-generational saga about the difficulties and discrimination faced by a zainichi family, or its 2022 Apple TV+ adaptation.

Lee, a Korean American author, first heard about the zainichi when she was a student at Yale University in the 1980s. Before Pachinko, though, zainichi stories were already being published in Japan. And the interplay of Korean, Japanese, and American perspectives means that such narratives can be interpreted as “transpacific cultural mediation,” writes David S. Roh.

In this theoretical framework, “relationship to the homeland is largely imaginative and negotiated through tertiary national spaces,” Roh writes. In particular, he proposes that Japanese author Kaneshiro Kazuki’s 1996 novel GO is “culturally mediated not only through Japanese and Korean ethnonational politics but also through American racial discourse and popular culture.”

That’s as the novel’s protagonist, high school student Sugihara, “must detour through another cultural space—in this case, American cultural and racial discourse—to find the latitude to break free from reified cultural identities that have been thrusted upon him,” he suggests.

Tension in the novel stems from Sugihara’s romance with a Japanese girl, Sakurai. Notably, when he reveals his family background to her, she balks at sexually consummating their relationship. Despite Sugihara’s academic references to the shared ancestry of Japanese and Koreans, Sakurai confesses, “It’s scary…the thought of you inside me is scary,” and calls his blood kitanai or dirty.

Kaneshiro’s novel “dismantles nationality as laughably fluid, particularly in the case of zainichi,” since citizenship is inherited based on the affiliation of zainichi individuals’ parents or grandparents at the time of their liberation from Japanese colonialism at the end of World War II.

To be Korean in GO is a matter neither of lineage nor of citizenship, Roh argues. Rather, “[r]acial formation, which Sugihara belatedly stumbles upon, is the arena in which his subjectivity is both based and contested”—and that can be done only with American intervention. For instance, Sugihara’s self-discovery occurs after his family pays a bribe to switch their citizenship from North Koreans to South Koreans—just so that his parents can visit Hawai‘i.

“Hawai‘i is a fantasy vacation space, a construct of American empire,” Roh writes. And it’s this fantasy American space that marks the dawn of Sugihara’s racial consciousness.

Roh points out that GO is rife with allusions to American culture, ranging from Sugihara’s love for the Godfather film series to a scene where he imagines himself as noir detective Philip Marlowe.

Observers have long hailed Japan’s aptitude for cultural synthesis. Is this characterization warranted, or does it reflect a collective fantasy about exceptionalism?

“It is through popular culture—with the attendant political and racial underpinnings—that Sugihara negotiates a pathway for zainichi subjectivity,” Roh explains.

“[T]he intertextuality goes beyond a simple expression of zainichi anxiety,” he writes. “Sugihara actively adapts American cultural discourse for his own ends”—for example, by changing the lyrics of Bruce Springsteen’s song “Born in the USA” to instead express that “I was born in Japan.”

In his musings, Sugihara connects racial discrimination against Native and African Americans with the treatment of Koreans. At other points, he identifies with the mixed-race musician Jimi Hendrix, and frames his response to racism in the context of the philosophy of Black rights icon Malcolm X.

Roh links the status of American culture in GO to the history of Allied-occupied post-war Japan, when the United States was “considered an external tertiary force that may be used to the zainichi population’s advantage when dealing with a discriminatory Japanese government.”
Weekly Newsletter

“I would argue that there is a similar dynamic at play in GO—the use of US intervention in cultural form to liberate the zainichi from the shackles of ethnonational inferiority,” he adds. As such, the novel must be read in light of American racial discourse, even though it is a work of Asian literature.

“GO engages in an interminority and transnational cultural dialogue as a means of rehabilitating a fragmented history, generational alienation, and political absence,” Roh concludes."]]></description>
<dc:subject>zainichi japan us korea culture 2025 kazukikaneshiro hmaleow pachinko minjinlee 2018 2022 tv television fiction koreans keneshirokazuki davidroh hawaii race exceptionalism discrimination history</dc:subject>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-most-powerful-medium-has-no-rulebook/">
    <title>The Most Powerful Medium Has No Rulebook | The MIT Press Reader</title>
    <dc:date>2025-07-03T17:17:25+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-most-powerful-medium-has-no-rulebook/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Video is the most consequential medium of our time. So why do we still lack the tools to cite, dissect, and challenge it like we do with print?"]]></description>
<dc:subject>video citation peterkaufman tv television 2025</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Sf3wEg9tsCY">
    <title>Can You Believe Your Own Eyes? Not With A.I. | Op-Docs - YouTube</title>
    <dc:date>2025-06-25T02:14:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Sf3wEg9tsCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Film and text by Maximilien Van Aertryck and Axel Danielson:
The camera is a tool — but to do what? Images shape our daily life, yet we rarely question how they’re made or why.

As filmmakers, we’re fascinated by how humans use cameras and by the immense influence images have. For 15 years, we’ve investigated the history of the camera, and we’ve turned the material we gathered into a feature documentary, chronicling how people behind the camera went from capturing the image of a backyard to today’s multibillion-dollar content industry.

The video above, “Death of a Fantastic Machine,” is a shorter version of that documentary, and here we focus on something that emerged as the key factor: how economic forces have shaped what we see, from the earliest photography to the algorithms and A.I. of today.

Some say there are an estimated 45 billion cameras on earth today, giving humankind access to perspectives far beyond our own reach. But the very tool that could help us understand the world is increasingly used to distort it. With A.I., this distortion has reached a new level. When any photo or video can be manufactured, what happens to the camera’s credibility? Can we still trust what we see?"

[via:
https://kottke.org/25/06/death-of-a-fantastic-machine

"Death of a Fantastic Machine (aka the camera) is a short documentary on “what happens when humanity’s infatuation with itself and an untethered free market meet 45 billion cameras”…and now AI. It’s about how — since nearly the invention of the camera — photos, films, and videos have been used to lie & mislead, a trend that AI is poised to turbo-charge. Not gonna sugar-coat it: this video made me want to throw my phone in the ocean, destroy my TV, and log off the internet never to return. Oof.

The short is adapted from a feature-length documentary directed by Maximilien Van Aertryck and Axel Danielson called And the King Said, What a Fantastic Machine [https://www.bullittfilm.dk/fantastic-machine ] (trailer [https://www.youtube.com/watch?v=z7TcmTeuCCo ]). Van Aertryck & Danielson made one of my all-time favorite short films ever, Ten Meter Tower [https://kottke.org/17/02/ten-meter-tower ] (seriously, you should watch this, it’s fantastic…then you can throw your phone in the ocean).

P.S. I hate the title the NY Times gave this video: “Can You Believe Your Own Eyes? Not With A.I.” That is not even what 99% of the video is about and captures none of what’s interesting or thought-provoking about it. However, it is a great illustration of one of the filmmakers’ main points: how the media uses simplifying fear (in this case, the AI bogeyman 🤖👻) to capture eyeballs instead of trying to engage with complexities. “Death of a Fantastic Machine” arouses curiosity just fine by itself."]]]></description>
<dc:subject>film photography perception media ai artificialintelligence maximilienvanaertryck axeldanielson documentary cameras filmmaking video fear tv television attention addiction psychology storytelling narrative tedturner capitalism lumièrebrothers georgesméliès radio fabrication staging framing power ads advertising reality escapism fiction propaganda entertainment news cnn sensationalism violence massmedia screens technology smartphones socialmedia manipulation internet online web youtube influencers influence fearmongering foxnews howwethink neuroscience reedhasting netflix algorithms channel5 andrewcallaghan division polarization business faceboook meta</dc:subject>
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    <title>Adam Curtis on the BBC, Politics &amp; AI - YouTube</title>
    <dc:date>2025-06-23T04:30:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=SM9hRuy31JA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adam Curtis is one of the UK's most iconoclastic and followed documentarians. His epic films, spanning decades of cultural and political history have become instant classics and gained him a worldwide following including the likes of Kanye West and Elon Musk.

Richard Osman and Marina Hyde interview the BBC journalist about his disappointment at modern television, unique approach to archival material and his thoughts on modern culture at large."]]></description>
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    <title>Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide - YouTube</title>
    <dc:date>2025-06-21T23:07:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WwvZeav_OBQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watch more Jazz Minute Episodes here
https://www.sfjazz.org/onthecorner/jazz-minute/

SFJAZZ presents another Jazz Minute – a brief look at important figures, movements, and moments in jazz history and the present day, in both the San Francisco Bay Area and around the world.   

For the second Jazz Minute episode focusing on the history of jazz fashion, we discuss the transitional period from the Swing Era of the 1930s to bebop in the late 1940s. This era marked a shift to what many would consider the quintessential look of jazz musicians in popular culture.

Learn more at SFJAZZ.org"

[See the entire series:

Jazz Minute: Jazz & Fashion Pt.1- Betty Davis’ Influence on Miles Davis
https://www.youtube.com/watch?v=gOAuWe-qDSE

Jazz Minute: Jazz Fashion Pt.2 - Bebop and Bohemia, a Style Guide 
https://www.youtube.com/watch?v=WwvZeav_OBQ

Jazz Minute: Jazz Fashion Pt.3 - Afrofuturism, Eastern Philosophy, and Style 
https://www.youtube.com/watch?v=W_2wu02kxZE

Jazz Minute: Jazz Fashion Pt.4 - New Jazz Style Icons 
https://www.youtube.com/watch?v=yJT5aY2SIZ0 ]]]></description>
<dc:subject>fashion jazz music sfjazz 1930s bebop bohemia history cabcalloway billyholiday milesdavis dizziegillespie theloniousmonk clothing culture beatnik film mainstream cartoons tv television subcultures terenceblanchard</dc:subject>
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<item rdf:about="https://jamescosullivan.substack.com/p/critical-thinking-was-in-decline-before-ai">
    <title>Critical thinking was in decline before AI</title>
    <dc:date>2025-06-20T16:32:50+00:00</dc:date>
    <link>https://jamescosullivan.substack.com/p/critical-thinking-was-in-decline-before-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a tendency, especially in discussions shaped by technological determinism, to blame complex problems on a single, recent cause. Take, as a current and particularly pronounced example, generative AI, which is often portrayed as a principal culprit in the apparent collapse of critical thinking.

But this narrative ignores a longer and deeper decline in critical thinking. Generative AI has not caused the erosion of our critical capacities, but rather, has accelerated a process that was already well underway. If we are in the last days of critical thinking, it would be fairer to characterise gen AI as the final nail in the coffin.

But what do we even mean by critical thinking, a term that is invoked way too widely? For me (and you’re welcome to disagree), ‘critical thinking’ refers to a set of intellectual dispositions and practices oriented toward the careful evaluation of information, arguments, and assumptions. It’s not just about doubting claims or calling out flawed opinions, but about engaging in reasoned, reflective judgement. Critical thinking involves the capacity to distinguish between assertion and evidence, to evaluate competing perspectives, to draw warranted conclusions, and to remain open to revision in light of new arguments or data.

Importantly, critical thinking is not reducible to logic or problem-solving in the abstract—it is historically and culturally situated. It has roots in classical traditions of dialectic and rhetoric, but it also takes institutional form in the Enlightenment ideal of rational public discourse and, more recently, in liberal educational philosophies that emphasise independent thought over rote memorisation.

To think critically is also to recognise that knowledge is rarely neutral or complete, but entails an awareness of context, an attentiveness to ambiguity, and a willingness to inhabit intellectual uncertainty. As such, critical thinking is inseparable from epistemic humility, the understanding that our perspectives are always partial.

In contemporary educational and cultural discourse, it is thrown around as a vague good, or used a buzzword to decorate curricula or strategic plans. True critical thinking requires time, institutional support, and a tolerance for dissent and complexity. In many of the environments where it is most loudly championed, it is often, in fact, quite inhibited. What was once a set of intellectual virtues rooted in Enlightenment scepticism and liberal pedagogy is now often reduced to generic problem-solving strategies, and this depoliticised version of critical thinking no longer threatens dominant ideologies or power structures.

This isn’t anecdotal, it is observable in empirical indicators, institutional priorities, public discourse, and broader culture’s relationship with complexity.

The OECD’s 2022 Programme for International Student Assessment (PISA) recorded the most significant decline in reading and mathematics scores since the assessment’s inception. In reading, many national systems experienced losses equivalent to three-quarters of an academic year. The 2024 Survey of Adult Skills, part of the OECD’s broader PIAAC initiative, confirms a similar trend among adults: stagnating or declining literacy and numeracy levels.

Of course, such a stark downturn are more readily attributed to widening social inequalities, and literacy and numeracy, while foundational, aren’t synonymous with critical thinking.

Looking beyond the numbers, the decline is evident. Being genuinely comfortable with ambiguity and dissonance are, as already noted, essential to critical thinking, but public discourse has gown visibly hostile to such, reinforced by growing democractic polarisation. In political, academic, and cultural debates, there is increasing pressure to adopt clearly demarcated positions, to signal allegiance rather than engage in authentic and measured arguments.

Social media platforms, which facilitate much of our cultural conversations, are structurally aligned against critical thinking, rewarding speed, emotional charge, and brevity over careful analysis. The viral success of content is largely determined by its capacity to confirm biases and provoke instant reactions, conditions fundamentally at odds with the practices of sustained re-evaluation and contextualisation that critical thinking requires.

And it was into such a polarised and hyper socio-cultural landscape that generative AI arrived.

The most disquieting characteristic of popular large language models like ChatGPT is not their capacity to misinform, but their capacity to persuade. Language models don’t think—at least not in the ‘special’ way that humans do (please note the sarcasm)—but they do predict plausible continuations of language sequences based on statistical patterns in training data. This is, of course, extremely impressive from a technical and linguistics perspective, but for many consumers, the surface coherence of their outputs (grammatical, syntactic, and rhetorical) creates a strong impression of meaningful reasoning. This is not a new problem in the history of media, but it is a uniquely intensified one.

Research reveals a troubling relationship between reliance on LLMs and diminished critical engagement. Studies by Carnegie Mellon University and Microsoft indicate that greater trust in AI systems correlates with lower levels of measured critical thinking, while individuals with higher self-confidence in their own analytical abilities tend to retain stronger reasoning skills. As the authors put it: ‘We find that knowledge workers often refrain from critical thinking when they lack the skills to inspect, improve, and guide AI-generated responses.’ In other words, users who defer to AI are not simply outsourcing labour, they are also abdicating judgement.

This convergence of degraded reasoning and inflated confidence in AI outputs is incredibily dangerous. When AI-generated text appears plausible, users are less likely to interrogate it, even when its reasoning is shallow or flawed. This suggests a diminished awareness of the very need to think critically at all.

The automation of knowledge work is no longer speculative; in many sectors, routine intellectual tasks are already being delegated to generative systems. LLMs offer efficiencies, sure, but also carry epistemological costs: the language model generates the text, but the human operator cannot fully account for what it says. This represents something way beyond efficiency, but a deeper dislocation of epistemic responsibility, a shift from being the author of an argument to being its facilitator.

These dynamics are increasingly evident in educational contexts. A study in Smart Learning Environments observed that students who used dialogue-based AI tools to assist in essay writing reported increased confidence in the quality of their work. However, objective assessment revealed no significant improvement in argumentative depth or critical insight.

This discrepancy between confidence and competence is already familiar to educators. The essay that is well-written but critically shallow is hardly new, but what gen AI enables is the effortless production of such texts, reducing the pedagogical process to surface artefacts. The traditional pedagogical aim, to enable students to articulate, defend, and refine their reasoning, is being displaced by a focus on textual presentation.

Assessment regimes often reinforce these trends. Rubrics often reward clarity and coherence, whereas that which remains unmeasured and thus devalued is the slow and often disfluent labour of original thought.

None of this will be surprising to educators. Across much of the Anglophone world, education has shifted toward managerial logics: accountability metrics, standardised testing, and curriculum narrowing have reduced space for open-ended exploration. Subjects that traditionally fostered critical engagement have been marginalised in favour of STEM disciplines framed in narrowly vocational terms. Even within the humanities, there is increasing pressure to justify intellectual work in terms of ‘impact’ or ‘skills’, leaving less room for speculative, dialectical inquiry.

There is a tendency to dismiss critiques of new media as reactionary: the printing press, radio, television all provoked fears about the loss of intellectual virtue. And while these historical analogues are useful, they are also quite limited. What distinguishes gen AI from previous technologies is its capacity not merely to store or transmit information, but to produce linguistic outputs that simulate reasoning. A calculator does not pretend to understand arithmetic, it just executes it transparently. A LLM chatbot, by contrast, produces discursive performances that mimic the surface features of argument, and this mimetic quality is epistemically destabilising because it obscures the boundary between generation and justification.

What can be done about the decline of critical thinking and its apparent acceleration in the age of generative AI?

Faced with the erosion of analytical habits and the increasing normalisation of machine-assisted cognition, the appropriate response is not primarily technical. What is required is a deliberate cultivation of hugely unpopular attitudes and practices that slow cognition, foreground ambiguity, and demand active engagement.

The recovery of sustained reading would be a start. Long-form, linear texts (dare I say, even in printed form) offer a mode of engagement that resists the logic of digital distraction, requiring attentiveness, interpretative patience, and, perhaps most importantly, a tolerance for complexity. Reading in this way is not simply about absorbing information, but about inhabiting an argument and overcoming difficulty. It stands in contrast to the superficial scanning that typifies online consumption.

We also need to restore epistemic agency through estimation and provisional reasoning. Before consulting an LLM, one might at least attempt to formulate an initial hypothesis or outline a tentative explanation, to treat uncertainty as an intellectual opportunity rather than a problem to be eliminated. In doing so, the thinker reasserts their own role as a participant in inquiry, rather than a passive recipient of answers. Before delegating writing or summarisation tasks to generative systems, individuals might take time to sketch the structure of their own argument, its premises, evidence, potential counterpoints, and underlying assumptions. This clarifies the individual’s position but also repositions the AI as a tool to be interrogated, rather than an authority to be trusted. The model becomes a resource within a broader process of thinking, not a substitute for it.

Such practices are not ‘solutions’ in that they won’t counteract the epistemic consequences of generative AI at a societal level, but they may serve as acts of resistance, and that’s something.

Generative AI did not cause the decline of critical thinking, but it may bring us to a point where the appearance of thinking becomes an acceptable substitute for its practice. And in that future, the very idea of reasoning, as a discipline and social good, may become quaint. If we are to resist this trajectory, we must begin by acknowledging that the habits we cultivate today will shape the thinking we are still capable of tomorrow."]]></description>
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    <title>Buckley – The Homebound Symphony</title>
    <dc:date>2025-06-15T22:18:08+00:00</dc:date>
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<item rdf:about="https://podcasts.apple.com/us/podcast/episode-249-star-wars-theory/id1121355704?i=1000712585056">
    <title>Episode 249 – Star Wars Theory - Delete Your Account Podcast - Apple Podcasts</title>
    <dc:date>2025-06-12T15:55:45+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/episode-249-star-wars-theory/id1121355704?i=1000712585056</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Roqayah is off this week, so Kumars is joined from the top of the show by fan favorite Marvin Gonzalez and Delete Your Account debutantes Josef Burton and Luke to mark the conclusion of Andor. 

NYC-based organizer Marvin, writer and former US diplomat Josef, and Luke, host of the medieval history podcast We’re Not So Different, discuss the show’s depiction of revolutionary movements, how the Star Wars IP legitimizes armed struggle, why conservatives are rehabilitating the Empire, post-Andor melancholy, and whether space aliens are a good metaphor for racism. In the final segment, Josef and Marvin square off in an all-new edition of the Star Wars quiz game.

Follow Marvin on Twitter @sulliedsubjects, Josef @PinstripeBungle and Luke @lukeisamazing."

[also here:
https://deleteyouraccount.libsyn.com/episode-249-star-wars-theory
https://open.spotify.com/episode/1Mi7m1QPB1znjjQp2CNw6z
https://www.patreon.com/posts/episode-249-star-131300437 ]]]></description>
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    <title>Poder Mediático en América Latina: Así se manipula a países enteros desde las sombras - YouTube</title>
    <dc:date>2025-06-11T04:41:09+00:00</dc:date>
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<item rdf:about="https://www.vulture.com/article/new-media-circuit-hollywood-publicity.html">
    <title>Fame and Frustration on the New Media Circuit</title>
    <dc:date>2025-05-28T16:45:21+00:00</dc:date>
    <link>https://www.vulture.com/article/new-media-circuit-hollywood-publicity.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Publicity used to be so straightforward. Now, for stars and their teams, ‘no one’s sure what works.’"]]></description>
<dc:subject>publicity media fame famous nicholasquah internet socialmedia culture music tv television proomotionn attention journalism press film hollywood</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8fcd05bc81ba/</dc:identifier>
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    <title>How the Radical Right Captured the Culture | The New Republic</title>
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    <link>https://newrepublic.com/article/193563/trump-podcasters-hollywood-right-wing-culture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blame Hollywood’s “unwokening” and the extraordinary rise of right-wing podcasters on slop: intellectually bereft, emotionally sterile content that’s shaped by data and optimized for clicks."

[referenced here:
https://2ndbreakfast.audreywatters.com/sycophancy-as-a-service/ ]]]></description>
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    <link>https://robhorning.substack.com/p/contentment</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""social media" has always been oxymoronic"

[referenced here:
https://2ndbreakfast.audreywatters.com/sycophancy-as-a-service/

See also:

"Just for a second I thought I remembered you
Being compelled to ask yet again, Are friends electric?"
https://robhorning.substack.com/p/just-for-a-second-i-thought-i-remembered ]]]></description>
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    <title>In Praise of the Gods - by Simon Sarris</title>
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<item rdf:about="https://www.reddit.com/r/FREEMEDIAHECKYEAH/wiki/video/">
    <title>r/FREEMEDIAHECKYEAH Wiki: Free Streaming Sites</title>
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The Listening Post’s Tariq Nafi explores the media’s role in shaping the immigration debate.

Featuring:
Patrick Bet-David – Host, PBD podcast
Michelle Garcia – Journalist and author
Abraham Paulos – Deputy director, Black Alliance for Just Immigration"]]></description>
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<item rdf:about="https://onethingnewsletter.substack.com/p/netflix-goes-to-sicily">
    <title>🟧 Netflix goes to Sicily - One Thing</title>
    <dc:date>2025-03-14T05:03:59+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/netflix-goes-to-sicily</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Leopard adapts a literary classic."

...

"Kyle Chayka: As with Emily in Paris, Valeria in Madrid, or Bridgerton in faux-Regency England, sometimes you just want a streaming show to put you in a nice place for a while. The shows offer a kind of ambient television experience, heightened by the fact that most of them are bingeable. You can leave your chosen background on for many hours at a time, like a projection of a Harry Potter common room. It was for that reason that I turned to Netflix’s new miniseries The Leopard. Sure, it’s an adaptation of one of the most important novels in the history of Italian literature, Il Gatopardo by Giuseppe Tomasi di Lampedusa, published in 1958. And it documents the formation of a unified Italian state in the mid-19th century through the campaigns of the revolutionary general Giuseppe Garibaldi. But it’s also a period drama set on a Mediterranean island, with crumbling mansions, idyllic lemon groves, and harsh sunlight. I am really enjoying the series, but more for the vibes than for any aspiration to ambitious storytelling.

The plot is simple in its structure: Prince Fabrizio, the patriarch of a noble Sicilian family, tries to navigate the new political landscape of a national Italy while retaining his grip on his lands and mansions. Fabrizio’s nickname is The Leopard (a more correct translation is apparently The Serval, a smaller cat, which was on the author’s family coat of arms) and he earns it: He is a handsome, manipulative, sneaky predator whose romantic mindset threatens to sink him. Fabrizio juggles his austere wife, his orphaned revolutionary nephew who joins Garibaldi, his rebellious daughter who is in love with said nephew, a son who is intense but undisciplined, and a range of Sicilian functionaries all scheming to take him down. If you do watch, I suggest persevering through the first episode, which dispenses with the military drama. After that it’s all satisfying palace intrigue and doomed love."]]></description>
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    <title>Technology isn't fun anymore - YouTube</title>
    <dc:date>2025-03-10T04:04:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=P-TANCVoHlc</link>
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<item rdf:about="https://www.bbc.com/future/article/20250213-youtube-at-20-a-computer-that-drunk-dials-online-videos-reveals-statistics-that-google-doesnt-want-you-to-know">
    <title>How a computer that 'drunk dials' videos is exposing YouTube's secrets</title>
    <dc:date>2025-02-20T01:17:32+00:00</dc:date>
    <link>https://www.bbc.com/future/article/20250213-youtube-at-20-a-computer-that-drunk-dials-online-videos-reveals-statistics-that-google-doesnt-want-you-to-know</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["YouTube is about to turn 20. An unusual research method is unveiling statistics about the platform that Google would rather keep hidden.

YouTube may not seem secretive. It's public facing. You can watch an endless stream of content from now until your dying breath. There's been a mountain of research about the platform, unpacking everything from the commodified economy that surrounds it to the radicalising effects of its algorithm. But the picture goes blurry when you start asking simple questions. For example: how much YouTube do we all watch?

Google, which owns YouTube, is quiet about that and many other details. In February, the company revealed that people who access YouTube on their TVs collectively watch one billion hours a day, but total numbers for the platform are an enigma. Estimates say YouTube has around 2.5 billion monthly users – almost one in three people on Earth – and the average mobile app user watches something like 29 hours a month. With that, let's try some back-of-the-napkin maths.

If we make a few assumptions, and say that monthly viewing average for app users can be applied across all YouTube users on both the website and television, we can multiply 2.5 billion by 29 hours. This would tell us that humanity consumes something like 8.3 million years of videos on YouTube every month. Over 12 months, that adds up to almost 100 million years, hundreds of times longer than the sum total of human history.

How many YouTube videos are there? What are they about? What languages do YouTubers speak? As of 14 February 2025, the platform's will have been running for 20 years. That is a lot of video. Yet we have no idea just how many there really are. Google knows the answers. It just won't tell you.

Experts say that's a problem. For all practical purposes, one of the most powerful communication systems ever created – a tool that provides a third of the world's population with information and ideas – is operating in the dark.

In part that's because there's no easy way to get a random sampling of videos, according to Ethan Zuckerman, director of the Initiative for Digital Public Infrastructure at the University of Massachusetts at Amherst in the US. You can pick your videos manually or go with the algorithm's recommendations, but an unbiased selection that's worthy of real study is hard to come by. A few years ago, however, Zuckerman and his team of researchers came up with a solution: they designed a computer program that pulls up YouTube videos at random, trying billions of URLs at a time.

You might call the tool a bot, but that's probably over selling it, Zuckerman says. "A more technically accurate term would be 'scraper'," he says. The scraper's findings are giving us a first-time perspective on what's actually happening on YouTube.  

In its 20 years of operation, YouTube has shaped entire generations' sensibilities and redefined global culture. Surveys show YouTube is the most popular social media site in the US by far, with 83% of adults and 93% of teenagers among its patrons. It's the second-most-visited website on Earth by most estimates, topped only by Google.com itself. But as the platform enters its third decade, the most basic facts about YouTube are still a closely guarded secret.

A Google spokesperson shared a blogpost about the platform's recommendation algorithm, but declined to comment on the statistics and other issues mentioned in this story. For now, YouTube's mysteries continue.

Unusual methods

"It's extremely difficult to get a grasp on what's going on inside social media platforms, because while the companies that operate them do make certain public disclosures, those disclosures are fragmentary and often somewhat misleading," says Paul Barrett, deputy director of the New York University Stern Center for Business and Human Rights. "I think there's an instinct at Google that it's not in their interest to emphasise just how gargantuan YouTube is, how titanic the number of users, how phenomenal the amount of content. Google doesn't want to be seen as influential as it really is."

But Zuckerman and his colleagues found a way to peek behind the curtain. YouTube URL's have a standard format. With a few exceptions, the addresses begin with "youtube.com/watch?v=" and end with a unique string of 11 characters. Gangnam Style's identifier is 9bZkp7q19f0, for example.

So, the researchers wrote a program that basically generates 11 random characters and checks if there's a corresponding video. When the scraper finds one, it downloads it. Zuckerman says you can think of it like a pesky teenager, punching in random numbers for prank calls after dipping into his parent's liquor cabinet.

"If I wanted to know how many valid phone numbers there are in New York's 212 area code, I could just dial 212 and seven random numbers to see if somebody answers. I'd probably get cursed out a lot if I did it enough, but eventually I'd gather enough data to figure it out," Zuckerman says. "That's what we did with YouTube. The thing is, YouTube has 18.6 quintillion potential numbers, so you have to dial a few billion before someone picks up."

So, Zuckerman's lab let the scraper drunk dial YouTube, over and over again, until it put together a big enough data set. To collect the first 10,016 videos they gathered for their initial study, the scraper tried more than 18 trillion potential URLs. It took almost 1.87 billion bad guesses for every real video it found. If you did that work yourself, spending three seconds on each try, it would take an average of 178 years before you landed on a single video.

When the researchers analysed their findings, the results challenged the prevailing narrative about what YouTube actually is.

Secret stats

The first question was simple. How many videos have people uploaded to YouTube? Google used to release that statistic in the early days, back when YouTube had something to prove. When Google first acquired the platform in 2006, around 65,000 videos were uploaded every day. More recently the company says more than 500 hours are uploaded per minute, but it's tight-lipped about the number of videos.

Zuckerman and his colleagues compared the number of videos they found to the number of guesses it took, and arrived an estimate: in 2022, they calculated that YouTube housed more than nine billion videos. By mid 2024, that number had grown to 14.8 billion videos, a 60% jump.

For many, YouTube brings to mind the faces of bright-eyed influencers vying for money and fame, or professional content creators like MrBeast or Joe Rogan. But the researchers then took a subset of the videos and had human reviewers watch each one to answer a series of questions about what they saw. For the most part, they didn't find the work of professionals.

Only 0.21% of the videos they analysed featured any kind of monetisation, such as a sponsorship or an advertisement in the video itself. Less than 4% of the videos included a call to action like YouTube's famous invitations to like, comment and subscribe.

Those with some kind of set or background design accounted for 14% of videos, while only 38% had undergone any form of editing. More than half of the videos had "noticeably shaky" camera work. Only around 18% of videos we're judged to have high quality sound, and the sound quality varied significantly almost 85% of the time. More than 40% had just music, and no speech. About 16% of videos in the sample were primarily still images.

The top YouTubers attract audiences in the hundreds of millions, but the researchers estimated the median number of views for a YouTube videos is just 41, and 4% of videos haven't been watched a single time. About 74% of videos have zero comments. Around 89% have no likes. Typical YouTube videos aren't just getting little attention it seems, they're also very short. They assessed that the median YouTube video is only 64 seconds long, and more than a third of videos are less than 33 seconds long.

Troubling questions

YouTube once sold itself as a tool for regular people. The company's early slogan was "broadcast yourself". But today, YouTube suggests it's more of a service for people to watch the work of professional creators. In his annual letter at the start of 2025, YouTube's chief executive Neal Mohan said the company's mission is still to "give everyone a voice" – but most of the message was a discussion about how "YouTubers are becoming the start-ups of Hollywood" and "YouTube is the new television".

This narrative misses a critical piece of the picture, says Ryan McGrady, the senior researcher in Zuckerman's lab, who participated in the scraping project. YouTube is a free service that was built from the ground up by a private company, and it could be argued that Google should be able to run the platform as such. But when you examine how people are actually using YouTube, it looks less like TV and more like infrastructure, McGrady says.

"Most of us imagine YouTube as this place where millionaires give away prizes in a Squid-Game-style contest," he says. "But when you want to have a conversation about YouTube and its place in our society, we need to look at the ways it's used, not just the ways it's consumed."

YouTube is one of the internet's de facto repositories, the first place many of us go when we have videos we want to post or store online. It's also a place where local authority meetings are broadcast, for example, providing a vital opportunity for public accountability in ways that weren't possible before it existed. It isn't just a "platform", McGrady says, it's a critical piece of infrastructure, and that's how it should be regulated. "For companies that own so much of our public sphere, there are some minimum expectations we should have about transparency."

Google is dealing with more regulatory pressure than ever before. The company has faced multiple cases across the globe accusing it of running illegal monopolies in several industries. Google has lost several of them, and is currently fighting a number of other antitrust lawsuits."]]></description>
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    <title>Will Someone Save 'Sesame Street'?</title>
    <dc:date>2025-01-04T05:57:18+00:00</dc:date>
    <link>https://www.rollingstone.com/tv-movies/tv-movie-features/sesame-street-contract-expire-save-where-to-watch-1235218815/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With its Warner Bros. Discovery contract about to expire, here's why the beloved children's series is more essential than ever — and deserves to survive"]]></description>
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    <title>Teacher Fight - Abbott Elementary - YouTube</title>
    <dc:date>2024-12-29T06:43:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jrudkAzYIws</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With only two courtside tickets to a Philidelphia 76ers up for grabs for the whole faculty, tensions run high as the teachers try to decide who gets them. Watch 'Abbott Elementary' WEDNESDAYS 9/8c on ABC and Stream on Hulu."]]></description>
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    <title>Years and Years (TV series) - Wikipedia</title>
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    <link>https://en.wikipedia.org/wiki/Years_and_Years_(TV_series)</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Years and Years is a dystopian science fiction drama[2] television miniseries[3][4] written by Russell T Davies. Taking place between 2019 and 2034,[5] the six-part series follows the lives of the Lyons family, who witness increasingly tumultuous global affairs and the rise to power of Vivienne Rook, an outspoken British celebrity businesswoman turned populist politician whose controversial opinions divide the nation.[2][6] The series was a co-production between the BBC and HBO, and premiered on BBC One on 14 May 2019[7][8] and on HBO on 24 June 2019.[9] Years and Years stars Emma Thompson as Rook, alongside Russell Tovey, Rory Kinnear, T'Nia Miller, Ruth Madeley, Anne Reid, and Jessica Hynes as the Lyons family.[6]

The series was directed by Simon Cellan Jones (episodes 1–4) and Lisa Mulcahy (episodes 5–6), with Davies, Cellan Jones, Michaela Fereday, Lucy Richer, and Nicola Shindler serving as executive producers. It received praise for its writing, characterisation,[1] and exploration of modern political anxieties in a dystopian future.[2] The show received three nominations at the 10th Critics' Choice Television Awards, in the categories of Best Limited Series, Best Supporting Actor in a Movie/Miniseries (for Tovey), and Best Supporting Actress in a Movie/Miniseries (for Thompson)."]]></description>
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    <title>Against Autofiction: Two Paths for the Internet Novel | Spike Art Magazine</title>
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    <link>https://spikeartmagazine.com/articles/essay-against-autofiction-two-paths-for-the-internet-novel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The digital era is synonymous with flat, persona-driven fiction. How can literature transcend celebrified Tweets and respond innovatively to the web’s decentered form?"

[See also:

"Extremely Online and Incredibly Tedious | Rhian Sasseen"
https://thebaffler.com/latest/extremely-online-and-incredibly-tedious-sasseen ]]]></description>
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    <title>&quot;This Is a Collapse of the Democratic Party&quot;: Ralph Nader on Roots of Trump's Win Over Harris - YouTube</title>
    <dc:date>2024-11-07T19:29:01+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[""This is a collapse of the Democratic Party." Consumer advocate, corporate critic and former presidential candidate Ralph Nader comments on the reelection of Donald Trump and the failures of the Democratic challenge against him. Despite attempts by left-wing segments of the Democratic base to shift the party's messaging toward populist, anti-corporate and progressive policies, says Nader, Democrats "didn't listen." Under Trump, continues Nader, "We're in for huge turmoil.""]]></description>
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