Category: Politics


HYPERPOLITICS by Anton Jäger (Verso Books, 2026) HOW TO STAY SANE IN AN AGE OF DIVISION by Elif Shafak (Wellcome Collection, 2020)

I am constantly searching for books that make sense of our messed up world.

I don’t imagine for one minute that I am alone in this regard.

Above all, I am looking for some glimmers of optimism when all the evidence seems to indicate that the human race is doomed to repeat errors of the past and make still more calamitous mistakes in the future.

These two short books, 128 pages and 96 pages long respectively, are by writers who well aware of the scale of the task and under no illusions how urgent the predicament is.

The demise of any sense of collective values and rise of narcissistic individualism is vividly documented by Anton Jäger. He writes how “Today’s societies are composed of increasingly atomized and isolated individuals” and links this with the pace of living by observing that “atomization and acceleration go hand in hand.”

Continue reading

EMPIRE OF AI : Dreams and Nightmares in Sam Altman’s AI by Karen Hao (Penguin Books, 2018)

“AI can only exist by devouring the totality of the world’s information and then the world itself.” – Shoshana Zuboff

What began as a trickle has become a deluge. The AI tsunami is now a seemingly unstoppable force. We are drowning in its effects. Open AI started as a non-profit altruistic initiative but has morphed into something that produces enormous benefits to the wealthy elite whilst exploiting and depriving the rest of civilization.

While smaller AI models are more likely to improve health care and education or to potentially slow down the impact of climate change, the danger now is that most seem to believe that bigger is automatically better. At the root of the problem is the fact that what is good for society is not necessarily good for business. Sam Altman’s holy grail of Artificial General Intelligence (AGI) for all is now blithely defined as “highly autonomous systems that outperform humans at most economically valuable work.”  So much for the benefits to mankind!

During an interview with Naomi Klein, Hao commented that, when she began writing her monumental book,  the feelings towards all the latest technological breakthroughs were more likely to be positive. By the time the work was published after conducting over 300 interviews, the mood has shifted and her underlying scepticism towards its potential benefits is now widely shared. Part of this fear lies in the unknown. As Hao writes: “Technology’s advancement is headed towards an unknown objective, with no foreseeable end in sight.”  

While reading this book, I was constantly struck by the thought that the full consequences of what is being unleashed has not been fully thought through. Take for example the term “iterative deployment” which refers to the way imperfect models are released into the public domain despite it being known that there being many unresolved issues. The reasoning is that any adjustments can be made later based on user experience and feedback. We are the guinea pigs in other words.  In the case of  ChatGPT, this means that, prior to corrective measures,  ‘conversations’ are much more likely to include negative stereotypes relating to gender, race and faith.

Continue reading

MARTY SUPREME directed by Josh Safdie (USA, 2025)

Marty Supreme represents everything that is wrong with America right now. He is a trickster, a liar, an immoral fraud and a sore loser.

Does he remind you of anyone?

When he is comprehensibly defeated by a deaf Japanese table tennis champion Koto Endo (Koto Kawaguchi) he throws a tantrum and demands a rematch implying that he was cheated out of victory. It’s hard not to think of Trump’s challenge to the 2020 election result at this point.

How are we supposed to respond to a character who is so self-centred, selfish and manipulative? Are we meant to admire his attempted power grabs and his single-minded pursuit of wealth and fame?

Continue reading

In Britain in the 1960s, films noted for their ‘gritty’ realism were labelled ‘kitchen sink’ dramas. These were mostly set in the industrial north and featured working class characters striving vainly to overcome the drabness and narrowness of their lives. Films like A Kind of Loving (John Schlesinger, 1962), This Sporting Life (Lindsay Anderson, 1963) and A Taste of Honey (Tony Richardson, 1961) are good examples. The Britishness of such titles meant that they were received with a certain level of scepticism or ridicule by American audiences. Pauline Kael mocked the manner in which British film critics had a tendency to “salivate when they hear the tinkle of class distinctions.”
Making a tenuous link to these films, I’ve noticed a recent trend in American cinema for what I like to call ‘everything but the kitchen sink’ (EBTKS) movies. In this category I would place Eddington (Ari Aster), Weapons (Zach Cregger), Caught Stealing (Darren Aronofsky) and One Battle After Another (Paul Thomas Anderson). The latter is far and away the best of a bunch of comedy-dramas that contain veiled but non-specific critiques of Trumpism.
They cover topics like rampant consumerism, conspiracy theories, eco-terrorism and survivalist motivated criminality. The filmmakers seem to subscribe to a belief that if enough mud is thrown at socio-political problems some of it may stick. Invariably, however, they merely induce a level of anxiety that is never satisfactorily satiated. The impression that remains is that they depict a world falling to pieces without there being any obvious means of remedying the situations. They are in this sense all disaster movies.
The latest EBTKS movie I have seen is Mary Bronstein’s If I Had Legs, I’d Kick You. In this, the awesome Rose Byrne plays Linda, a woman on the verge of a nervous breakdown. She is a therapist and mother to a daughter with a serious, though unexplained, medical condition. She is isolated and overwhelmed in both roles and has to contend with domestic drama, unsympathetic health workers and voices in her head that lead her down self-destructive paths . Her husband is no help. He is literally heard but not seen giving advice on the end of the phone doing work that he clearly regards as more important than her daily battles. The accumulation of calamities speak volumes about the accelerated lifestyles that are regarded as the norm in the modern world.
EBTKS films are about chaotic lives in turmoil that make me think of Koyaanisqatsi (Goddfrey Reggio, 1982), a film made long before technology made aliens of us all. The title comes from a Hopi word meaning “life out of balance” and the images contain vivid warnings of what happens when the pace of life reaches an extreme point at which human beings can no longer handle the pressures. This coupled with a heedless disregard for limits of the world’s natural resources is where the world is right now.
By the side of these movies, the British new wave titles seem almost quaint so may just as well have been beamed in from another planet. What connects the two genres, however, is that they focus on narratives of individuals seeking the ways and means to break free of indeterminate shackles that become tighter the more one struggles to escape.

The Mastermind: After the heist.

The Mastermind directed by Kelly Reichhardt (USA, 2025)

In the BBC Mastermind quiz show which first aired in 1972 the catch phrase invented by original question master Magnus Magnusson when the time buzzer sounded was “I’ve started so I’ll finish.”   

In Mastermind, the movie, the feckless anti-hero JB (James Baline Mooney) played by Josh O’Connor starts something he has no idea how to end.  

I like the premise of this film which I take to be a study of alienated manhood and the drawbacks of a society founded on rampant individualism.

O’Connor was apparently cast because, unlike so many male lead actors,  he does not have a gym-toned body. Kelly Reichardt wanted him to look unexceptional because, although this is a heist movie, it’s a million miles away from the world of Ocean’s Eleven.

Continue reading