​Chess is the King of Games because it is a map.

​If we look at the brief history of chess we see a game that evolved out of chaturanga in 6th century India. It spread to the Persians. Then the Arabs got a hold of it. Then it made its way to Europe, where the Europeans, in their infinite wisdom, decided what the game really needed was a phenomenally powerful, hyper-mobile Queen, presumably because medieval European men desperately needed a strong maternal figure to tell them where to go and who to kill.

​But through all of these iterations, from the dust of India to the pristine digital boards of chess.com, chess has remained fundamentally the same thing. It is a map.

A map… of POWER.

Watch the video essay and read the full text

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“Good” and “bad” don’t have a place in critical thinking about culture. Skibidi Toilet is. Then the question becomes, “is what?”

The short answer is that Skibidi Toilet is the future that Capitalism wants. Unpacking that takes 15,000 words, which members can now read in a first complete draft.

Please make any comments on the document. Some imagination is required for the visual elements. Do not share this document. Thank you.

🔗👇

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…can we agree that Star Trek is the future we would all like?

A future in which poverty is eradicated, disease is a mere curiosity of the past, humanity has put aside petty squabbles over resources, borders, and skin melanin and replaced all of that sh*t with a collective, enlightenment-driven pursuit of knowledge and self-betterment.

A future in which humanity has — to use the rigorous academic term — Grown The Fuck Up

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I am sometimes accused of "click-bait"

Which is entirely false. Every video on the Science Fiction channel does exactly what it says on the tin.

"But. DAMO. This picture of God Emperor Elon carrying Joe Rogan carrying infant Donald Trump fighting Skibidi Toilet's Titan Cameraman is CLEARLY CLICKBAIT!!!"

Nope. This video essay will entirely fulfill that vis…

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I keep saying it.

The problem is not AI, the problem is AI under Capitalism.

50 years of neoliberalism mean some basic lessons of labour have been forgotten. In volume I of Das Kapital, Marx makes a critique of the Luddites – that the workers who famously smashed the machines were confusing

the means of production with the…

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PALO ALTO, CA — Internal sources at Palantir Technologies confirmed Friday that the company’s multi-year rebranding project has hit a significant bottleneck, as CEO Alex Karp remains unable to decide which fictional 20th-century dystopian megacorporation provides the most "operationally viable" blueprint for the company’s future.

​“The difficulty isn't a…

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​Think about the heaviest hitters in science fiction today.

​Take Fallout. The reason that universe is so compelling isn’t just because Bethesda really loves 1950s aesthetics and dank radiation memes. It’s built on one specific, structural cheat code. Look at Jurassic Park. The terror doesn’t actually come from the CGI T-Rex; it comes from one, very isolated scientific premise. Or look at the box office juggernaut Project Hail Mary – Andy Weir didn’t write a sprawling space opera, he built a meticulous puzzle box around exactly one new rule of biology.

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For feudal Kings this was the story that God had made the world, and made them King. Try arguing with that!

Capitalism got rid of God and replaced her with

DETERMINISM

The universe is a big clockwork explosion and if you rewound it to zero and set the same initial…

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The Empires of Europe have spent the last half decade blowing each other up with bombs, guns and heavy artillery.

As World War 1 burns itself out, men who survived the fighting begin to wonder if a better world, a world without empires and wars, is possible.

These working class men return home to grinding poverty and the brutal conditions of factory work. Many still do not even have the vote.

For seventy years, since that famous manifesto was published, a spectre had haunted Europe, the spectre of communism.

In 1918 soldiers returning to Russia joined a revolution and pulled down the empire of the Tsars, and established the first communist state.

Men across Europe begin to believe that their dreams of a better world can become real. That the old order of empires and war could be torn down

and in its place could be made a new order.

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“My name is Ozymandias, King of Kings; Look on my works, ye mighty, and despair!”

​Ozymandias by Percy Bysshe Shelley. You know it, don’t you?

You’ve seen it on a Breaking Bad poster, or perhaps you vaguely recall it from a GCSE English syllabus you ignored because you were too busy wondering if a lightsaber could, in theory, be powered by a sufficiently large alkaline battery.

It’s a poem about a massive, male ego, crumbling in a desert.

It’s a poem about the fantasies of men.

Watch the full video essay after the paywall

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Is money.

And in the cold unfeeling eyes of Hollywood a “movie” is just a business strategy to convert two hours of your time into shareholder value.

Jupiter Ascending failed at that task. Spectacularly. It made $184 million dollars globally, but cost roughly the GDP of a small island nation to produce, generating such a severe loss for Warner Bros. that as punishment eight senior executives were mashed into time milk.

Access the full video essay and text after the paywall

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WHY.

Have I written a 5000 word script about the Wachowski’s worst movie?

It’s not to make fun of Mila Kunis non-acting, although rest assured, fun is made.

Or Sean Bean cashing a big cheque for what is, even for him, an epicly lazy performance.

Or the brown sludge CGI that is 78% of the screentime.

It’s because watching Jupiter Ascending for the first time since 2015, I realised it does something great.

Something that unlocks the entire philosophy of the Wachowskis.

Jupiter Awcending is hilarious garbage.

But it’s Red pilled.

Channel members can now read the SCRIPT PREVIEW. Members get to see the “gloves off” versions, as the videos often have to be toned down. Comments if you have them on the Gdoc

LINK TO THE GOOGLE DOC AFTER THE PAYWALL

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Star Trek was a show about a starship with a 5 year mission, and Next Generation was a reboot of that same narrative format.

Even the first animated series stuck to the formula.

But now Star Trek was about to re-write the episodic format of a strange new world per episode.

And focus on just one world. Or more precisely just one space station.

Welcome to Deep Space 9.

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Despite the title this is less a commentary on Starfleet 90210 AKA Star Trek : Hogwarts Academy then on Nu-Trek at large

And the relenetless It's Woke / It Was Always Woke debate.

Comments on the doc but I'm shooting in about 8 hours so....

LINK https://docs.google.com/document/d/1Lb08AGvOpKSLu1j1oyk3ir…

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We do. We all like DREDD.

Not the god awful Stallone attempt, which we’re not going to mention again.

Not even the original comic, even though it’s “seminal” and we’re about to talk about it much more.

We like DREDD. The 2012 movie starring Karl Urban’s jaw, and written by none other than auteur writer director Alex Garland and, basically, his unofficial directorial debut.

We like *that* DREDD.

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“It’s easier to imagine the end of the world than the end of capitalism.”

Mark Fisher / Slavoj Zizek / Fredric Jameson

Where did the future go?

It’s not just that our future looks bleak.

You can’t boot-up Netflix without the latest political dystopias, civilizational collapse thriller or a “gritty” new take on the post-apocalypse punching you in the gut.

Going on social media in the 2020s is like being repeatedly slapped in the face with a wet copy of Cormac McCarthy’s The Road.

We’re a generation trying to figure out if our skills in web-design are transferable to surviving the Thunderdome.

And the news is legitimately packed with existential disasters. Ecological collapse. Nuclear risk. Resource wars. The construction of yet another data center that uses more energy than the state of Oklahoma so we can pay a supercomputer to draw subpar manga.

We keep building a new machine to solve the problem caused by the last machine we built to solve a problem itself caused by one of our machines. All the way back to flint axe and the carrier bag.

Machines. We can’t live with them, and we certainly can’t live without them.

And it seems we can’t imagine anything beyond them.

#

Science fiction tells two stories of the future.

In one, humanity steals fire from the gods and grasps control of our machines. In these Promethean futures men, competent men with engineering degrees, build the future with machines.

The crew of the Enterprise and its warp engines explore strange new worlds. The Psychohistorians of Asimov’s Foundation build a higher civilization. Men leave Earth to build megastructure ringworlds and dyson spheres again and again from Starmaker to the Bobiverse.

You can find some sparks of Promethean scifi in For All Kind, a future fantasy about what if we just kept building bigger and better machines.

In the first true work of science fiction the brilliant young philosopher Mary Wollstonecraft Shelley began the dialectic that scifi is still struggling with 200 years later.

On hand we have the Promethean scientist Victor Frankenstein and his efforts to create life as man creates machines.

On the other we have the creation. The monstrous product of making man in the image of the machine.

“Frankenstein scifi” shows us, again and again, the machine taking over, making man its slave or destroying humanity all together.

Fritz Lang’s Metropolis. The Machine Stops by EM Forster. The Death Star. William Gibson’s Neuromancer and all the cyberpunks. Skynet and the Terminator. The Borg. The Matrix.

The Machine will raise us up!

The Machine will enslave us!

The Machine will destroy us!

The Machine will save us!

Science fiction has been cycling between Prometheus and Frankenstein for 200 years.

The only way to escape this dialectic is to steer into the heart of the contradiction.

To understand the sublime object of science fiction itself.

The Machine.

But before we descend further into the abyss: a bit of housekeeping from the studio. We have a new 150” projector screen, perfect for watching the Jackpot livestreamed in 4k

AND projecting backgrounds for many new video essays…we’ll get to those in a mo.

​Three things happening behind the scenes:

1. ​The Great Content Consolidation: Over the next couple of months, we are syncing all member platforms. Whether you’re on the website, Patreon, Substack, or YouTube, you’re getting the full library of Science Fiction video essays. No more digital scavenger hunts.

2. ​Omnipresence: Video essays on YouTube AND Spotify. Written versions on Medium. And I’m putting select videos on Rumble… mostly just to troll the “Joker Right” and see if they can handle words with more than two syllables.

3. ​Special Projects: No more audio commentaries. I’m putting all that energy into the main essays. The podcast feed will have audio versions of the videos a few days after the main channel.

However, keep an eye out for a second channel…for the weird stuff. It’ll happen when the Machine allows it.

​Thanks!

#

​I started the Science Fiction community, and the podcast, and this channel, to find a better future. Or at least a story of the future that didn’t involve me fighting a mutant over a can of dog food.

​It was the peak of Covid. I was “hiding out” in Bali. With a couple of stray cats and far too much time to watch the digital world catch fire on Twitter.

​And I got into an argument with Neil Gaiman.

​Twitter is now Xitter and Neil has since… well, let’s say he disgraced the mythos and retreated to the shadows.

We’ll dissect that carcass another time.

​I wanted to know what the greatest “mythos” of the 21st century was. Neil answered that those all seemed like 20th-century myths.

And when the 21st century myth showed its face, we would know.

Give Neil his due, the man knows his myth.

​So I woke up at 3am with an idea burning my third eye open.

​Science Fiction is the mythos of Modernity. It’s the secular scripture that replaced the gods. But could it be the mythos of what comes next? Or is scifi just the final suicide note of a dying species?

​So began my quest to find an Actual Viable Story for our future.

A 21st century mythos.

A future we can all live with. And in.

#

Since then, we’ve dissected the greats.

​The dangerous philosophy of Ursula K. Le Guin. The secret history of Stanislaw Lem. We even looked at Isaac Asimov’s real Foundation… not the shiny, hollowed-out Apple TV show that wears its skin like a Buffalo Bill suit.

​We’ve analysed why corporate entertainment is so consistently soul-crushing. How the Corporate Entertainment Complex has turned the shared mythos of sci-fi into the cultural equivalent of a BigMac.

​But we’ve also seen how great scifi can, now and again, be smuggled past the corporate bureaucrats.Like Pluribus and Severance. Honestly, good job on that one, Apple. You managed to make a show about the horror of working for Apple.

​We’ve dived into the political impact of scifi myths. From H.G. Wells’ plan for a globalist superstate (the original “You will own nothing and be happy”) to George Orwell’s fear that the future is just a boot stamping on a human face, forever.

​And yes, we have done, maybe, a bit too much Karl Marx.

​But it wasn’t me who made the most important sci-fi show of the 21st century — Andor — a literal textbook on Marxist revolution. Blame Tony Gilroy! I’m just the guy pointing at the explosion.

​There is a reason to resurrect a 200-year-old critique of capitalism. Because that’s where our future went. It didn’t vanish. It was sold.

To the machine.

​The Science Fiction channel is taking a journey into the heart of The Machine.

We’re going to analyse how the Machine was created in the imagination of humankind as the Sublime Object of science fiction.

We’re going to see how the mythos of scifi has been abused by grifters and gurus to mystify their victims with Technobullsh*t.

We’re going to grapple with the darkest philosophy born of scifi, the theoretical framework which demonstrates that capitalism

and the machine

are the same damn thing, and journey into the future that Accelerationists want.

​We’re wven going back to The Matrix to see how the “Red Pill” was perverted by the alt-right.

And we’re diving into the men who made transhumanism, the sexiness of cyberpunk, the invisible power of psychopolitics and much more.

To see how the machine was built, how it is managed, and where it is taking us all.

​I remember Philip K. Dick abandoning his sequel to The Man in the High Castle because he was literally, physically ill from thinking about Nazis. To prevent the same, we’ll have some lighthearted side quests — like a dip into the mind of Douglas Adams.

​We are walking into dark places. But we can’t get back to the future unless we understand the Machine that’s currently sitting in its seat.

​I promise that, like Tolkien’s hobbits, we will eventually stumble back to the Shire. But first, we have to walk into Mordor.

And maybe explore the secret Stalinist meaning of Lord of the Rings.

​“Resistance and change often begin in art. Very often in our art, the art of words.”

— Ursula K. Le Guin

​There are many “logical” reasons we lost the future. Neoliberalism, resource depletion, the algorithmic grind.

​But I want you to reverse the causality.

​It’s not that the future was deleted by the dystopias. It’s that dystopia rushed in to fill the vacuum because we stopped telling better stories. We left the door open, and the monsters moved in.

​It IS easier to imagine the end of the world than the end of capitalism.

So we must imagine harder.

Our art, the art of ​science fiction, is the only tool sharp enough to cut through the Machine.

We can do this.

Or, at the very least, we can die a nerd’s death trying.

I’ve been skipping social events. Ditching familial commitments.

Instead I’ve spent the last three months in a basement, drinking Red Bull and watching Rumble streams.

I’ve developed a sick fascination for right-wing political influencers. And I’ve noticed one thing.

These grifters are all Batman villains.

Which is why I call them The Joker Right.

Because I can’t be the only one who feels that American conservatives are like a Joel Schumacher Batman movie that never ends.

One of those 90s Batmans, with visible nipples, and a leading man who is only there for the money, and at least two too many villains.

Because that’s what we are dealing with here. The patients have taken over Arkham Asylum.

The Batman villains are running the show.

The thing the Joker Right understands about Batman is that the villains really are the whole of the story.

Which is ironic because in the Batman mythos the nasty caricatures of mental illness were coded as threats to social order — which, in mid-century America, meant anything smelling vaguely leftist, radical, or nonconforming.

You really don’t get a much more establishment hero than Bruce Wayne, a fortunate son of inherited wealth, a capitalist elite. A man who solves social problems by punching poor people in the face.

Batman’s creators Bob Kane and Bill Finger wrote iconic Batman villains like the Joker and the Riddler as parodies of anti-establishment radicalism, strawmen which showed anything that went against the conservative values of 1940s America as “criminal insanity”.

A tradition that continued for most of the history of Batman.

Posion Ivy is literally an eco-terrorist…sorry…activist. She’s basically Greta Thunberg but hot and ready to kill for the cause.

Catwoman at her best is a socialist thief in the archetype of Robin Hood, stealing from the 1% to give back to the rest.

Matt Reeve’s The Batman made the Riddler a literal incel raging against the power of the patriarchy.

Lesser known Batman villain Anarky is a full on anti-statist revolutionary. A deliberate critique of anarchist philosophy. It’s not even subtext, it’s right there in the text.

Then of course there’s Bane, imagined in Chris Nolan’s worst Batman movie as a populist demagogue, raising up the people with — fake — leftist rhetoric against Gotham’s deep state.

“We take Gotham from the corrupt! The rich! The oppressors of generations who have kept you down with myths of opportunity!” BANE, Dark Knight Rises

That sounds like Jeremy Corbyn, Bernie Sanders and Jean Luc Melonchon teamed up to topple Gotham.

But Bane is an agent of the League of Shadows, selling the socialism of fools to Gotham the same way Trump sells it to America.

And how can we forget the Joker? The greatest of all Batman villains. But we’ll come back to the Joker.

​The Joker Right’s entire thing is to make the political right look like the revolutionary left. That’s the trick. That is the prestige.

​To reimagine blue-haired Wokesters and penniless adjunct professors as the “establishment.” To convince you that the people with pronouns in their bios are the ones with the boot on your neck.

​And somehow persuade millions of Americans that the inherited wealth of Donald Trump and Elon Musk are for the “revolution.”

​​And that stunning act of role reversal… has worked too well.

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I remember when the conservative…

…I remember when the conservative was a man in a suit. A grey haired man in a grey suit.

Not a Botoxed, spray-tanned narcissist.

A boring man. A man who wanted to lower capital gains tax and conserve the established social order.

Not an orange balloon of grievance.

The Right are still pretending to be decent conservatives. Oh yes. They are going “Orthodox.” They are becoming “TradWives.”

“I am making sourdough bread in a prairie dress to own the libs.”

But underneath the Laura Ashley aestheic, they have gone insane.

​Today’s ‘Right” are the sum of all Dark Triad personality disorders in our society. Narcissism. Machiavellianism. Psychopathy.

And like all abusers…

…like all abusers, the Right blame their insane behavior on their victims. The Left.

“Look what you made me do! I had to storm the Capitol because you suggested we use pronouns! I had to embrace fascism because you made a mermaid black! I had to embezzle billions of dollars of military contracts because DEI.”

​While the Left.

The Left are booo-ring. Dull. Fact based. Sam Seder is just some guy who watches too much news. Hasan Piker livestreams are like CNN for Millenials. The Novara media team are about as spectacular as a cup of tea. A tepid cup of tea in a Quaker meeting hall.

And that’s a good thing.

Because you can’t grift Left.

Left-wing audiences actually do things like “checking sources.” The left has entire shows dedicated to debunking. They have footnotes. They have peer review.

The right has grifting. The left has…academic tenure.

If you start bullsh*tting the left we stop watching.

If you STOP bullsh*tting the right they stomp off to find the next low integrity influencer who will keep feeding them their favoured brand of bullsh*t.

And this is why the left are losing. The left still has this crazy belief that the purpose of information is to inform.

But the Joker Right realised long ago the only reason to say anything…

…is to strike sick a pose while surfing the vortex of bullsh*t.

INTERLUDE

Early in my career I did a gig for a UFO magazine that was going online.

As a naive twenty something I asked the editor if the articles about alien abductions and corn circles weren’t a bit…unbelievable?

And got the blunt response — that was the point. “Anyone who believes this sh*te will believe anything.”

Like those Nigerian email scams that are deliberately dumb to filter out all but the dumbest idiot, the point of UFO stories is to identify the credulous who “want to believe”.

Then target them with highly profitable financial “offers” and other scams.

That was the 00s. Now think about the value of UFO…sorry UEA…media in the age of crypto and AI scams.

One moment the credulous are learning about TicTac aliens on Joe Rogan, the next they’re losing their pension on Melania coin.

Or being told to vote Trump so the billionaire oligarch can “fight the deep state”.

UFOlogy is a potent form of what Princeton philosopher Harry Frankfurt called “bullsh*t” in his famous essay On Bullsh*t.

Yes, bullsh*t has an academically rigorous definition.

“It is impossible for someone to lie unless he thinks he knows the truth. Producing bullsh*t requires no such conviction.” Harry Frankfurt, On Bullsh*t

Bullsh*t is information that the producer and the consumer know to be false, but choose to believe for…reasons.

For the consumer it’s easier to believe that snake oil cures all ills than face scientific reality.

For the producer who is unscrupulous and immoral enough the fake cure is a great way to get rich and gain power.

The MAGA movement is nothing but an accelerating vortex of bullsh*t. UFOs. Immigration. Pseudo-archaeology. Anti-vax. Health supplements. Crypto. Trans athletes. All whipped up to hurricane speeds to serve rule number 1

If you’ll believe this, you’ll believe anything.

And once you understand that the Joker Right is a business model — sell bullsh*t to the credulous, then sell the credulous to the powerful — their insanity comes into sudden clarity as brutally, terrifyingly sane.

But those who live by bullsh*t, die by bullsh*t.

The All-Father of the vortex of bullsh*t, the bearded Texan Chronos vomiting up the lesser gods who would follow, is Alex Jones.

Jones kickstarted the bullsh*t-o-sphere by realising that his Infowars show, on cable then the internet, would face zero consequences for spreading any lie.

Until he was sued for $1.4BN by the Sandyhook families.

Slap a muzzle on him and Jones’ variety of faux anti-establishment, fake populism makes him a shoe-in for Batman’s ultimate nemesis.

But Jones has been left crying boomer tears by his gen-z children.

The internet is for porn.

And Nazis.

Stick with me for one minute while we talk about a dead white man.

Sigmund Freud is remembered as an all-time great philosopher because he reminds us that men are not reasoning rational beings.

We are driven by deep unconscious drives.

Civilizations uses Eros, our erotic drive, to tug men around like a bull by the nose.

Want a pornstar GF who’ll do all the porn things? Well you better finish school, college, hit the gym and Make Money.

But with Eros comes Thanatos. The opposing drive — to dominate, destroy and kill.

Civilization has through the millennia desperately struggled to contain human eros and thanatos.

Or it did until somewhere around the mid-1990s when civilization howled “Unleash the internet and let’s GOOOOO.”

Generation-Z are lab-mice in a deranged psych experiment. Pumped full of ever more hardcore porn to hyper-stimulate eros.

Then shoved into immersive virtual realities of megaviolent video games to satiate thanatos.

But you can’t ever satisfy the god of death.

Even by becoming a Batman villain.

To give them credit the Joker Right understand that to talk to politics to gen-z they have to embody the drives of eros and thanatos that drive the next generation.

And nothing screams overactive death drive.

Like becoming a Nazi.

“Hitler was cool.” Nick Fuentes

Jordan Peterson became an unlikely gen-z icon because he speaks in riddles.

Jordo is so much like the Riddler that he actually started dressing in bespoke Batman villain suits.

But when you decode Peterson’s garbled misrepresentations of Carl Jung and Friedrich Nietzsche, his message to younger men is basically…

…join the patriarchy and we will give you a tradwife.

Peterson is basically an emissary from the boomer establishment sent to make an offer to millennial and gen-z men.

The problem is the patriarchy can’t make good on the deal. There are no good jobs left, and there is a very limited supply of tradwives.

And the women willing to sign up for a life of submission to a gen-z male are mental.

And so the evolutionary development of the right wing grift-o-sphere escalated to Andrew Tate.

If you can’t subsume your drives to the patriarchy, instead give your eros and thanatos free reign by becoming a pimp and a gangster.

Tatey is a generic henchman. The goon Batman beats up so we can cheer.

The problem is most gen-z and millenial men are house cats not tigers. They’ve been raised in complete safety and have no appetite for real risk. Or a Romanian prison cell.

​Meet our Catwoman.

​Less the cool, leather-clad thief who steals diamonds, more the Jocelyn Wildenstein archetype.

Laura ​Loomer has carved her loyalty to the cause directly into her face. She is a walking, talking example of the physical toll of the grift. To survive in the Joker Right’s ecosystem, you have to physically become your own caricature.

Tucker “Two Face” Carlson. Like Harvey dent except both sides speak bullsh*t.

The private face, as revealed in the Dominion lawsuit, is a man who knows Trump is a “demonic force,” who hates the lies, who lives in reality.

​Flip the coin.

​You get the public Tucker. The furrowed brow. The manic laugh. The man who’ll look into the camera night after night and sell “Great Replacement” theory to your grandma.

Tucker Carlson is peak establishment pretending to be anti-establishment. The wealthy scion of a frozen dinner fortune and failed CIA agent, expert in pretending to be the victim.

And here at the eye of the vortex of bullsh*t is…

​Candace Owens.

Candace was the first to the crack the deep code of the right wing grift.

That the best way to feed the vortex of bullsh*t is to bullsh*t about other bullsh*tters.

No sooner had Charlie Kirk, one of the Joker Rights power bullsh*iters, been killed in public, than Candace lead the charge to manufacture a pure bullsh*t conspiracy theory about who killed her “friend”.

The right wing grifters can’t even stop lying long enough to grieve one of their own.

Those who live by bullsh*t, die by bullsh*t. The Ouroboros of disinformation is eating itself, as the peak predator grifters like Milo Yianopoulis begin cannibalising bland weaklings like Benny Johnson for clicks.

I was going to talk about Ben Shapiro here but he’s just…so…dull.

Because the audience has grown tired of conservatives pretending to be Batman villains. They want the real deal.

They want the authentic Joker.

To give Nick Fuentes his due, he’s no grifter.

Nick Fuentes is what happens when men like Peterson, Carlson and Shapiro, spout dog whistles like “Judaeo-Christian culture” and “Western values”, for long enough.

Eventually someone says the quiet bit out loud.

White Nationalism.

Eventually an angry gen-z male looks into the camera and says “No, we aren’t ‘conservatives.’ We aren’t ‘traditionalists.’ We are White Nationalists. We like Hitler.”

When you spend decades telling people that “equality is oppression” and “diversity is weakness,” eventually someone is going to show up and say, “Okay, so let’s just do fascism then.”

Nick Fuentes is what happens when the President himself tells you it’s ok to hate immigrants, it’s ok to hate Somalis, it’s ok to hate Muslims.

Eventually you end up with Nick Fuentes asking “Wait, so, why can’t we hate the Jews?”

Fuentes is the receipt.

​The left spent decades saying, “You’re going fascist.” And the right howled. They performed this grand, wounded theatre of indignant denial.

​”How dare you? How dare you call us fascists? We just want lower taxes and to preserve the Judaeo cultural Christian values of Western civilization.”

But you weren’t “protecting the legacy of the Enlightenment.” You weren’t “fighting the Woke mind-virus.” You were just on a miserable journey to an inevitable destination.

You were always becoming Nick Fuentes.

The Joker is the greatest Batman villain because he’s the ultimate symbol of…

…thanatos. The death drive.

The man who just wants to watch it all burn.

Let’s be clear, Fuentes is not the voice of his generation. Gen-z are busy leading protests, deposing dictators and saving the planet.

Fuentes is the thanatos of his generation. Why save the planet when watching it burn is “hilarious”.

​And Fuentes’ audience loves him for it. Because he’s not boring. He’s not “safe.” He’s not a grifter. He’s American white nationalist fascisms genuine message to the world.

​And the message is: the mask is off.

Vladimir Putin just did the one thing guaranteed to make a 1969 sci-fi classic cool again—he made it forbidden fruit. Le Guin is no…

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BUT you can preview the un-censored script right now. Comments welcome on the document.

Link after the paywall

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This is an exponential growth curve. A graph of a positive feedback loop, where a process feeds back into itself…positively.

EXAMPLE : as a fire grows more material becomes combustible creating more fire and … repeat.

Or … technology. The more technology you create, the more technology you can create, inciting an exponential growth curve until you hit

The Technological Singularity

AKA The Rapture of the Nerds

The Singularity. A concept beloved by tech bros, venture capitalists, and that man in your office who keeps saying “disruption” when he means “sacking people”.

And we’re all going to upload our consciousness to Silicon Heaven. Which is actually a warehouse in…Utah. A hot warehouse. So hot it’s boiling a river.

The good news is that in practice, no fire burns forever. The whole world is not a smoking cinder. Yet. And AI isn’t going to turn everything into paperclips.

In nature exponential growth never results in a singularity.

The bad news is why.

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