"He Refuses to 'Let Defeatism Have the Last Word'"

"Later, he said he wouldn't have found his way into philosophy and social theory if he hadn't experienced confronting the reality of Nazi crimes as a young man. He recalled that 'you saw suddenly that it was a politically criminal system in which you had lived'." 

At The Guardian, Donna Ferguson and Philip Oltermann report the death of Jürgen Habermas.

"Talent Still Calls California Home"

"Recent comparisons to Detroit misunderstand what makes each city remarkable. The Motor City's decline was largely due to companies offshoring innovation to cheaper factories abroad. Los Angeles' challenge is the opposite: an overabundance of innovation that is decentralizing faster than anyone expected. The industry is not dying; it is diversifying."

In a 2025 Los Angeles Times article, Rachel Zaslansky Sheer and Lori Zuker Briller discuss Hollywood as a place and as an industry.

"An Optimistic Cultural Renaissance Will Have to Precede Political Reform"

"But now, I wonder if my notion of culture being grounded in music or film has been eclipsed by the culture of the algorithm. For the past 10 years, in books like Move Fast and Break Things and The End of Reality, I have been writing about how a few tech billionaires have built unimagined fortunes by destroying our culture. The technocrats are well-known: Musk, Mark Zuckerberg, Peter Thiel, Marc Andreessen, Jeff Bezos, Sam Altman. The project of 'disruption' these men championed at the dawn of the digital age has ended with the immiseration of musicians, journalists, and photographers."

Jonathan Taplin at Rolling Stone asks, "Can the Counterculture Rise Again?"

"Work Won't Love You Back"

"The wide appeal of entrepreneurialism also demonstrates its malleability. The former New Leftists who embraced entrepreneurship in founding organic grocery stores or alternative bookstores could feel secure that their businesses 'were simply "faithful and uncluttered expressions of yourself,"' Baker writes, even as they, too, became bosses demanding more and more of their workers. On the other end of the political spectrum, the Amway founders Richard DeVos and Jay Van Andel preached a New Right language of 'family values' by promising that their direct-sales model would bring families closer together, as in the idealized mom-and-pop shops of yore. Deindustrialization and high levels of unemployment did much to undermine what was left of industriousness as a work ethic in the 1970s and ’80s, but the appeal of entrepreneurialism to both the New Right and the New Left positioned it not just as the heir apparent but as a new logic for organizing society overall.

Nick Juravich at The Nation reviews Erik Baker's Make Your Own Job: How the Entrepreneurial Work Ethic Exhausted America.

And God Created Bardot

The Guardian reports the death of Brigitte Bardot.

"The Goddess of Go-Go"

"Now she lives alone in 'a wonderful house in Los Angeles' with her five cats and her dance studio next door. She still teaches students, judges street dance competitions globally and is regarded as a legend in the field. And she still hears Mickey echoing through the culture: in movies (most recently Die My Love), and in songs by the likes of Run DMC (It's Tricky), Gwen Stefani (Hollaback Girl), Taylor Swift (Shake It Off), Charli xcx (Speed Drive) and, most recently, Blackpink singer Ros'’s hit single with Bruno Mars, Apt. 'It's kind of an anthem now. Here in America, if you're a little cheerleader, you're dancing to it.'"

Steve Rose at The Guardian talks with Toni Basil.

Sweet Neo Cons

"Today, roughly 70 percent of Americans say they don't believe in the American dream. That loss of faith is like a giant bomb detonated in the middle of our society, robbing us of our central, unifying vision. Absent that shared vision of possibility, people revert to a tribal, us-versus-them morality. If the ghosts of the original neocons have anything to tell us about specific policy choices, it's that we need to do what we can to expand social mobility and restore faith in the American dream."

David Brooks at The Atlantic argues that "[t]he neocons were right."

While Chris Ryan at Tangentially Speaking asks, "Just How Cynical is David Brooks?"

"Culture as a Sort of Terroir"

"Making art with lasting meaning requires resisting the pull of instant exposure and early buyouts. We must think through ways to encourage artists to disappear into their own worlds for a while, developing ideas away from corporate influence and assimilation. Not everyone will have the discipline or capacity for this, but those who do or can will shape the future. And the least that critics and fans can do is give them esteem—when justified—for attempting to move culture forward, instead of ignoring them as marginal, castigating them as pretentious, or belittling their view counts. The past 25 years have taught us that the contemporary economy and media will not prioritize creative invention. The question is: Will you?"

The Atlantic runs an "article has been adapted from W. David Marx's new book, Blank Space: A Cultural History of the Twenty-First Century."

"It's Worth Reconsidering"

"Some of these old standards will feel alien to zoomers and alphas. In his 2022 book The Nineties, the critic Chuck Klosterman explores the decade's hostility towards 'selling out,' which he calls “the single most nineties aspect of the nineties'. Selling out involved a respected artist deciding to make work that was more 'palatable' and therefore more commercially viable. By 2010, says Klosterman, 'it was hard to illustrate to a young person why this act was once seen as problematic; by 2020 it was difficult to explain what the term literally expressed'."

Rachel Aroesti at The Guardian calls for a return of "cultural snobbery."

"'A Lot Has Changed in the Past Ten to Fifteen Years'"

"Other moral panics in recent history—around comic books, Satanism, and marijuana, for instance—fell by the wayside after they became so unhinged that reasonable people turned away.  But the Sensitivity Era appears far from over. The unavoidable takeaway from Szetela's sharply-etched and powerfully argued book is that left-wing illiberalism has been institutionalized. It's already deeply entrenched in schools, libraries, literary agencies, and publishing houses."

John McMillan at The Dispatch reviews Adam Szetela's That Book Is Dangerous! How Moral Panic, Social Media, and the Culture Wars Are Remaking Publishing.

"It's Nice to Hear Someone Do Something Different"

"The real reason that indie started to die, or at least felt as though it did, is Spotify. As streaming supplanted downloads and album sales, it automated music discovery. Instead of reading Pitchfork or asking a record-store clerk for recommendations, more and more people began to let algorithms suggest their next obsession. This had a variety of consequences. One is that it's become harder than ever for challenging music—music that you need to listen to a few times in order to love—to gain a foothold. The prestige associated with doing something different has started to fade."

Spencer Kornhaber at The Atlantic reviews Chris DeVille's Such Great Heights: The Complete History of the Indie Rock Explosion.

"More Prolific Than Even the Hollywood Studios in Their Golden Age Peak"

"The strange paradox of the streaming era is that as the quest to personalise entertainment has continued, entertainment itself is becoming steadily more impersonal. The user, and the fantasy of unlimited choice, is king. The auteur, and singularity of perspective, are now subordinate–and the tsunami of AI threatens to wash them away completely."

Phil Hoad at The Guardian asks, "what has the Netflix algorithm done to our films?"

"A Signifier of Something Beyond Music"

"If you buy the idea that what the Britpop brand represents is optimism, positivity and youth culture winning without compromise then you can see its appeal to a 17-year-old in 2025. Who wouldn't hanker after the notion of a prelapsarian world before the scrutiny of social media, 9/11, the rise of the 'alt-right' et al? And the era’s 'fuck you, we're gonna have a good time' excesses look alluring in an age of wellness influencers and constant cameraphone surveillance."

Alexis Petridis at The Guardian attempts to "explain why we're all still in thrall to the ​m​ad-fer-it 90s."

And Chris DeVille at Stereogum writes after a Chicago concert that, "at long last, Oasis have conquered America."

While Steven Zeitchik at The Hollywood Reporter says that "Oasis Just Glitched the Algorithm."

And Alex Edelman at Rolling Stone describes an Oasis reunion concert as a "religious experience, if the religion was 'football hooligan.'"

"He Is a One-of-a-Kind Grotesque"

"The text and the caption depend for their power upon—indeed they would be totally unintelligible without—Trump's built-in assumption that millions of people would find themselves almost inexpressibly outraged by his naive identification of Cinco de Mayo with all Hispanics, whom he claims to love in some absurd blanket sense—how when he is such an obvious gutter racist?!—and his uncouth assumption that 'taco bowls' are a real food to which superlatives might be applied at all and that the pseudo-salads are a part of Mexican cuisine. (This is probably not an exhaustive list of the number of micro-aggressions or dog whistles implied in this masterpiece of rhetoric.) The atmosphere of knowingly perverse cultural insensitivity—probably the closest thing we have nowadays to the teashop Orientalism of The Mikado—is heightened by the contrast between the high-school cafeteria quality food and the white napkin and silverware, to say nothing of the golf trophies and the view of the Manhattan skyline from the window behind him and his ludicrous grin. This, played with a thousand variations over the half decade or so in which he has been at the center of American public life, is the essential Trumpian conceit: playing a poor person's idea of what being rich is (having real linen!), a woke person's idea of racism (liking déclassé foods), a worker's idea of what a boss is (someone who fires people), and doing so without ever acknowledging the performance to any of the not-always overlapping segments of his audience, who in turn refuse to acknowledge it to one another."

In a 2020 article at The Week, Matthew Walther argues that Donald Trump "is essentially a camp figure."

"Addiction Is the Goal"

"Sure, let's give it a name, something like TikTok depression or Silicon Valley zombification or whatever. The key fact is that users can feel it, even if they don't have a label or a diagnosis. They feel it even if the technocrats refuse to tell them about it. Just listen to the words people use to describe their toxic online interactions: doomscrolling, trolling, doxxing, gaslighting, etc.
"In the year 2024, this is what we do for fun."

Ted Gioia at The Honest Broker in 2024 writes about "dopamine culture."

At Culture: An Owners Manual, W. David Marx discusses internet-driven fads.

As does Amanda Mull at Bloomberg.

Have I Got an Act for You

"Provenza and I talked about that a little bit, and I said, 'It's interesting, we hear Miles Davis and Coltrane play over the same changes, but we never hear different comics tell the same joke.' That sentence was kind of revelatory."

Brian VanHooker at Cracked presents "An Oral History of 'The Aristocrats' with Penn Jillette and Paul Provenza."

"Arguably the Most Sartorially Influential Person to Ever Hold the Presidency"

"Whether sailing off the coast of Hyannis Port or hosting a glamorous black-tie dinner at the White House, Kennedy's innate charisma and charm were merely enhanced by the approachable way in which he outfitted himself. 'JFK was almost unaware of clothes being of any great importance,' remarks Deeda Blair, whose husband served as U.S. Ambassador to Denmark during the Kennedy administration. 'He always was well dressed and I would even say distinguished, but effortless and easy—unremarkable ties and I suspect no fussing about pocket squares.'"

Andrew Nodell in a 2017 Women's Wear Daily article discusses President John Kennedy's clothes.

"Had I Planned This, I Would've Failed"

"He knew he was onto something when he got a surprise check for $1,000 for photos he had turned over for one of Dick Clark's Rock and Roll Years specials at ABC in the early 1970s. 'I gave him the stuff for nothing, expected nothing,' he said. 'I thought, hmm - this could be a business here. Then I began to take it real seriously and started fanatically trying to find as many photos as I could.'"

Mike Barnes at The Hollywood Reporter writes an obituary for archivist Michael Ochs.

"But What Made His Art So Popular?"

"Kinkade's most famous subject was the humble cottage, lit from within by unsettling candlelight. Former Evangelicals may also recall the Bridge of Hope, which spans a creek and heads nowhere. A white dogwood tree stands nearby, a 'symbol of the purity of God’s grace,' according to the Kinkade company's website. Kinkade created a world that some people, maybe even millions of people, wanted to inhabit. Though he was a Christian and his work often contained religious imagery, his art did not proselytize so much as it advertised an alternative reality where proselytization was no longer necessary. In Kinkade-land, everything is serene. There is cohesion. Grandmothers love his pink skies and cobblestone paths. Even today I can close my eyes and imagine a Kinkade abode, squatting underneath some eldritch sunset. A Kinkade landscape is often lifeless. There are few human beings, and fewer complications. Sometimes Jesus appears; other times he is more of a suggestion. Sometimes the paintings light up, literally, as if the artist wanted to burn holes in our retinas."

Sarah Jones at Dissent discusses Art for Everybody, a documentary about Thomas Kinkade.

To Live Is to Maneuver

"Would Buckley really be so shocked by the growth of populism and illiberal nationalism and a creeping authoritarianism on the right? Surely, those afflictions in the late Obama years were hardly new, or any more daunting than they had been in Buckley's time. The true crisis on the right, I believed, lay in the fact that it no longer had anyone of Buckley's stature to keep the tablets. It still doesn't."

Brian Stewart at The Bulwark reviews Sam Tanenhaus's Buckley: The Live and the Revolution That Changed America.