The America issue

Zoomer Mamdaddy, Sonny Hayes, Mr Electric Blue

I try really hard not to “get political” on here because you already know exactly what I think, and funneling ideas through discussions of Dakota Johnson is enough. Something else I try not to do here is directly respond to people or call them dorks, which is getting increasingly impossible. I never run out of ways to say it or things to say it about, but I do often feel that all I have to say is the same thing over and over and over again: we live in a culture of policing to the end of individualistic heroism, of championing things because they feel good and rejecting things because they’re too complicated.

I have had it. For days and days I have seen think pieces about how “the dimes square era (2018-2025) laundered fascist aesthetics and paved way for the west village aryans to rise to power... but now gay socialism is otw... dark woke is coming... if you developed an ED during the dimes square era start eating now.” Gay socialism and dark woke are definitionally opposed aesthetic movements, you dork. If what we’re talking about is the presumptive front-runner for the mayor of a city, Zohran is regular woke, and the small radius of bars where 28-year-olds without jobs hang out, sometimes and fleetingly referred to in distain as “Dimes Square,” is not something that has had real cultural or ideological impact on anything, ever.

We desperately need to reset the way we talk and think about “good” and “bad,” the way we conceptualize of things that matter. Saying F1 The Movie—which is functionally VR-headset content and is called F1 The Movie—is bad, for example, because it’s technocratically complacent is not criticism. If you were an alien dropped down to Earth right now and someone told you there was something called F1 The Movie, you would be able to correctly evaluate that thing as technocratically complacent. I saw a review of Materialists on here that was like, “Materialists hurt my feelings, so why are film critics like Richard Brody saying it’s good?” — probably because they are critics evaluating the form of the motion picture in context, not just reacting to the contemporarily political goodness or badness of one subplot. Anyway:

this country is beautiful

Zohran’s sophomoric mischief