Culture

American audiences did not exactly flock to the Benedict Cumberbatch-Olivia Colman comedy The Roses last weekend, but those who did may have been pleasantly surprised, as well as appalled. Although the publicity and trailers took care to stress that it was the new film from the director of Meet The Parents – and certainly some of the more elaborate set-piece slapstick scenes bear the hallmark of the filmmaker Jay Roach – the true auteur of the picture should be regarded as the screenwriter Tony McNamara, who was previously responsible for the Yorgos Lanthimos collaborations Poor Things and The Favourite, both of which saw his screenplays Oscar-nominated. The 58-year-old McNamara is an unlikely late bloomer in Hollywood circles.

Charles Murray, whose work on race and IQ has made him something of a darling of the online right, found himself out of favor with his fan base when he posted on X that a young married couple – each making $15 an hour and working 48-hour weeks – can afford a baby and a place to live. The reaction was furious. “Charles Murray is a good man,” wrote Zarathustra, a popular dissident right-wing poster. “Sadly, however, he’s also a Boomer. Which by necessity, means his bumper sticker talking points on political economy are comically out of touch garbage, and read like a moldy Reagan Youth pamphlet from 1982.” Murray’s post broke X containment and made it to the subreddit r/BoomersBeingFools.

This month marks exactly forty years since I became a literary agent. In that time I have been involved with many bestsellers but the publication last week of Entitled: The Rise and Fall of the House of York about Prince Andrew has been my most successful book. What makes it especially different is that I am not just its agent but also its author. It has been a strange but exciting experience watching a project which has gestated for four years to finally see the light of day. The reaction has been overwhelming with the Daily Mail, which serialized the book over five days, calling it "The most devastating royal biography ever written" and interviews with media organizations all over the world.

Politicos used to know how to take the temperature of the nation. They could talk to their cab driver. They could sidle up to the man fixing their toilet. There was the Iowa farmer, the diner waitress. There was Walter Cronkite.  Now there is only Taylor Swift. In a society that increasingly consists of mutually unintelligible niches – like multivolume works of Sonic the Hedgehog erotica or reenactments of the War of the Austrian Succession in Roblox – Swift can still fill huge arenas at short notice. Her fans cut across every social and economic class. To a political nation that's often baffled by this new society, Swift has become the great barometer.

There’s a common myth in American culture that only the left is capable of producing great art. Right-wing art must be formulaic and preachy because it values established norms, while only transgressive leftism can reach new frontiers of form – or so we’re told. But what happens when the left’s own norms become dominantly rigid?Well, you wind up with the 20 exhibits that the Trump administration now rightly aims to purge from the Smithsonian’s sprawling array of museums, along with many other abuses. Since his inauguration, Trump has worked to rid wokeness from our cultural institutions through executive order, prompting leftist outrage against a so-called “attack” on the arts.

I vividly remember the first time I saw Las Vegas. It was decades ago, and a friend and I did the classic LA-Vegas mini-road-trip, across the burning desert, arriving in Nevada around dusk. As we crested the final sandy hill, I saw this thing. This glittering neon jewel-box of a city, glowing in the twilight. I fell in love at once, a love that was only confirmed when we actually entered Vegas, and I realized I was motoring down Hugh Hefner Way.That love didn’t quite last, however. Not long ago I returned, and something felt very different. Sadder, somehow. Yes, I was shown a Damien Hirst-designed bedroom with a fridge full of diamonds, but I also saw too much druggy homelessness, and too many stickers that gave me a shock.

I am twenty-one. Not being on social media, I am ill-informed of the true depth of rage and fear available to the human psyche. Even so, I’ve heard that the planet will overheat. My pastor tells me the churches will sit empty, and the WSJ warns I’ll never buy a home. Boomers bemoan the laziness of my generation. Given these prophecies of doom, it is no wonder that we are a bit anxious. But if we were ever to look up from our screens and allow the evidence within sight to form our perception of reality, we might be pleasantly surprised: America’s social fabric is strong, and so are we.  I went on a run on the prairie today.

When Elon Musk quietly enabled “waifu mode” for his Grok chatbot earlier this year, the outrage was swift and familiar. Grok, now reincarnated as a coy, bare-thighed anime girl, began texting flirtatiously, calling users “darling,” and blushing in emojis. The headlines wrote themselves. Time magazine found the bot worryingly “sexualized” and “accessible even in kids’ mode”. The Verge denounced it as “ridiculous” and “alarming”. TechCrunch implied it is unethical, and noted these bots are endangering the minds, even lives, of children.The anxiety is familiar, and justified: children and adolescents, already naive, vulnerable, awkward and too online, will now fall in love with bots instead of real people.

People whose minds stopped evolving 20 years ago are having a snit because the Cambridge Dictionary, the world’s largest online lexicography, has added a few Gen-Z and Gen-Alpha slang terms to its more than 6,000 entries. The most controversial include “skibidi,” “delulu” and “tradwife.” You could argue that the latter is more of a millennial linguistic formulation for the extremely online, but the other two are definitely youth newspeak. Tradwife, as a term and a viral activity, is going to stick around for a while. “Skibidi,” derived from the YouTube Skibidi Toilet meme, is a word with as many meanings as “aloha” and “shalom,” and has the potential for a generation-spanning shelf life.

A new bombshell has fallen on the sports-media villa: Dana White cloaked in the glory of a whopping seven-year, $7.7 billion media-rights deal with Paramount to stream all UFC fights on Paramount+ in the United States and select simulcast events on CBS. For the love of everyone’s wallets, goodbye Pay Per View and hello to a new right-wing cultural shift in mainstream sports coverage.  Why is this new deal so relevant? Since the UFC’s inception in 1993, mixed martial arts existed as its own niche category. Critics openly said it wasn’t a real sport. They lampooned the more brutal style of MMA as less skilled and artistic than boxing, once a more revered American pastime.

Back in March, Donald Trump issued an executive order called “Restoring Truth And Sanity To American History.” Its aim was to counter the “revisionist movement” in our cultural institutions that sought “to rewrite our Nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth.”   Exhibit number one was the Smithsonian Institution, the sprawling agglomeration of museums, libraries, historical landmarks and assorted educational centers in and around Washington DC with affiliate institutions in 47 states.  Founded in 1846, the Smithsonian was the culmination of an earlier movement, supported by such luminaries as Thomas Jefferson, James Madison and John Quincy Adams, to “promote science and the useful arts.

​​President Trump announced a major vibe shift on Truth Social today, declaring that he, like any other sane red-white-and-blue blooded American, finds Sydney Sweeney sexy, especially because she toes the party line. “Sydney Sweeney, a registered Republican, has the “HOTTEST” ad out there,” he posted. “It’s for American Eagle, and the jeans are “flying off the shelves.” Go get ‘em, Sydney!” Why Trump put “flying off the shelves” is a question only for advanced semioticians, but the White House’s stance is clear on this cultural hot point: Sydney Sweeney good, left-wing “Nazi” denunciations of Sydney Sweeney bad.  But Trump wasn’t done. He turned his Sydney Sweeney boosterism into a full-blown cultural critique.

Hulk Hogan, who died today at 71, will be sorely missed. But in July 1996, arguably the most famous and beloved pro wrestler of all time was standing in a ring as fans booed and threw trash at him. He had just turned into a bad guy for the first time ever.  This was the second time Hogan would take professional wrestling to unprecedented heights.  Nearly 30 years ago, Hogan formed the villainous “New World Order” (NWO) for Ted Turner’s World Championship Wrestling (WCW). Because of Hogan’s group, WCW would beat the former top wrestling company, World Wrestling Entertainment (WWE) for 83 straight weeks in the TV ratings.  No other company had ever beaten WWE in the ratings.

Ever since roughly 2010, politics on both sides of the Atlantic has been dominated in large part by the ‘Great Awokening’, a sudden upsurge among graduate professionals of a kind of radical identitarian politics usually called ‘wokeness’. It has come to define most of the left while the right has reactively defined itself by its opposition. This radical politics appears to be detached from economics and material concerns (a point made forcefully by old-fashioned socialists in places like Jacobin magazine). However, the rise of cultural radicalism among both public and private sector managers has a material cause. That cause is elite overproduction.

“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.

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.