Culture

“People who have kids do need to have 3 kids to make up for those who have 0 or 1 kid or [the] population will collapse,” Elon Musk recently wrote on X, in response to a post by the influencer Mario Nawfal warning that “if things continue as they are, humans have their days numbered.” This is increasingly the tenor of the right-wing discourse around declining birth rates: it is not enough to feel serious concern about the consequences of fewer humans coming into existence—about schools and colleges shuttering, about pensions running out of funds, about the intangible loss that comes with fewer children, fewer siblings, fewer friends, fewer souls.

Something has changed in America’s psyche. Violence has become more acceptable. It’s not just that we’ve seen two attempted – and very nearly successful – attacks on Donald Trump’s life, it’s that a worrying number of young Americans cheered on those attempted assassinations and still wish they had succeeded. Since early this year there has been widespread public support for smashing up Tesla dealerships – and for shooting Elon Musk. An unprecedented 10,000 new threats have been made against Senate and congressional members just this year, according to Capitol Police. Applause for the actual murder of UnitedHealthcare CEO Brian Thompson in December goes on, unabated, online.

One of the first pieces exhibited in Superfine: Tailoring Black Style – The Met’s annual spring Costume Institute exhibition – is a small and faded tan wool livery coat, most likely created by Brooks Brothers, the oldest apparel brand in continuous operation in the States. On its website the New York-based Brooks Brothers proudly claims that since it was founded in 1818 it has dressed no less than “39 presidents, along with industry leaders and cultural innovators.” What it doesn’t say it that it also dressed southern slaves. The mid-19th century tan coat was worn by a black enslaved child, just before the Civil War, at a time when household servants reflected their owner’s status.

Both of my parents are Jewish, as were theirs, going as far back as anybody remembers – probably to Abraham. As with many secular, Jewish-American families, God was practically non-existent in our house, though we still observed holidays like Rosh Hashanah, Yom Kippur and Passover. There came a point, however, when I had to ask why we partook in any of these traditions if God, who commanded their observance, wasn’t real. I figured that the Greeks had Zeus, the Romans had Jupiter, the Norse had Odin, and now we have God. This one will pass, too.In college, I studied progressive politics and devoured the writings of Marx and Engels, forming a firm foundation for my socialist beliefs.

The narratives we tell ourselves about the past are hardly set in stone. It’s in this ambiguity where Tancredi Di Carcaci finds inspiration. Through his practice, the British artist contemplates, and sometimes perpetuates, the blurring of straightforward histories, especially that of art, as traditionally passed down. His sculptures – a mix of ceramic works and assemblages combining cast bronze, ceramic and hunks of marble and stone sourced from Siena, Egypt and elsewhere – have aesthetic and thematic roots spanning the Renaissance, neoclassical revival, Romantic painting and 20th-century modernism.“For me, with art, I don't try and restrict myself.

In the 1950s, witch hunts were stoked by pamphlets identifying supposed communists in the media. Screenwriter Dalton Trumbo fell victim to this vicious whispering campaign. He was blacklisted by Hollywood and only given full credit for his work after his death. Today, witch hunts happen on Twitter – with the speed and ferocity of lightning. Kevin Spacey was struck by just such a bolt when he was accused of various sexual assaults on social media and then formally accused in courts in the US and UK – where he was cleared. And now, in trying to recover his life and his reputation after being scorched by the #MeToo movement, the double Oscar-winner has recognized that there is nothing new about his experience.

Over the past half century, media and academic sources repeatedly suggested that increasingly dense cities would dominate the future. Places such as London, San Francisco and Chicago would dominate an economy. Today, this assessment seems grossly dated. Even in the pages of the urbanista New York Times there are widespread fears of an “urban doom loop.” But this, too, is a stretch. Great core cities will not go the way of post-imperial Rome, but their role is being recast as the urban frontier shifts increasingly to the periphery. What we are seeing mirrors H.G. Wells’s vision. He predicted that most economic life, and most families, would shift to the suburbs and exurbs.

On paper, last weekend shouldn’t have been any great shakes for movie theater attendance. Audiences were offered, respectively, the second weekend of an African American-targeted horror picture; the fourth weekend of a video game spin-off; the re-release of the final George Lucas Star Wars picture, Revenge of the Sith, which has somehow turned 20 this year; and the major new release of the week, the sequel to the Ben Affleck vehicle The Accountant, which was only modestly successful upon its original release in 2016. None of these should have been particularly notable, and the weekend might have been expected to be another grim disappointment.  Well, this has not happened.

The Met Gala, hosted by the almighty Anna Wintour, will see the world’s most fashionable float up the red carpet on May 5 in New York City. The throngs of designers, models, influencers and celebrities who manage to get the golden-ticket invitation must dress in a style inspired by the theme “Superfine: Tailoring Black Style.” This theme is inspired from Monica Miller’s 2009 book, “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity.” Dandyism, we’re told, has its origins in the Trans-Atlantic Slave Trade in the 18th century when slaves were dressed up in an extravagant fashion to please their master’s aesthetic.

Kamala’s car crash By how much did Kamala Harris underperform – and Trump gain – in different county types compared with the 2020 presidential election? County typeHarrisTrumpMajority Hispanic-18%+7%Majority black-12%-4%Urban-12%+3%High-income -9%+3%Highly educated -9%+3%Retirement areas-2%+8% Source: New York Times Minority report Kamala Harris lost important votes from ethnic minority voters in the 2024 presidential election. What was each cohort’s approval of Joe Biden’s actions while in the White House? Black.................................................66% Hispanic............................................42% Asian and Pacific Islanders...............42% White.................................................

For too long derision of the Disney Adult has gone on unchecked. The world has been all too eager to sneer at the oblivious saccharine happiness of the woman – for it is always a woman – who dares to freely enjoy the most magical place on earth. It's easy to place the blame for the ills of modernity on this mouse-ear-bedecked scapegoat, for she embodies all the cringing mannerisms of the aging millennial, from their too-insistent sincerity to their generational refusal to put away childish things long after childhood has passed them by. Despite sharing their normative age and sex, I too have always counted myself among the haters, defining myself against type. “Not like other girls,” I said. “Not like other millennials.” Until this week.

When Tucker Carlson claimed to have been “physically mauled” by a demon in his sleep late last year, it was something of a bellwether: a sign that America’s cultural Right, now in the ascendancy, has persuaded itself to take a symbolic stand against the Enlightenment and the scientific worldview. Looking back on the 2010s and early 2020s, much of the American right now sees an era of secular hubris. The problems of the previous 15 years were put down to a naive faith in human reason; which was then confronted by dark and atavistic forces it couldn’t assimilate. The result had been all sorts of premodern terrors come again: plague, war, popular mania, social order overthrown.  The answer would have to be some sort of return of the spiritual.

In all the post election danger-to-democracy commentary, one unexpected new peril has emerged: the “nationwide surge of Mar-a-Lago face." Best exemplified by demented far-right activist Laura Loomer and former Fox News host-slash-former Donald Trump Jr. squeeze Kimberly Guilfoyle, Mar-a-Lago face is a cosmetic look characterized by immense volumes of cheek filler, heavy eye shadow and enough Botox to petrify the face. The male version could be seen when Florida congressman and attorney general-nominee-for-ten-seconds Matt Gaetz stepped out at the RNC with so much Botox and foundation that he instantly became a bipartisan meme. I’d argue that Mar-a-Lago face is not taking over America anytime soon. It’s barely taking over the Republican Party.

We’re in the throes of a full-blown moral panic, but this time it’s Nazis instead of Dungeons & Dragons. Nazis are everywhere in the United States. There are signs of them everywhere. Their influence is unmistakable, from beverages to hobbies to views on the nuclear family. It’s eleven o’clock. Do you know where your Nazis are? At least, that's the current state of America, according to the same industry that attempts every year to convince you that someone may sneak high-grade narcotics into your child’s Halloween candy. This week, our brilliant commentariat convinced itself that billionaire tech tycoon Elon Musk had performed two "Sieg Heils" during President Trump’s inauguration festivities.