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poptimism has intertwined with a variety of cultural omnivorism that encourages people to embrace the most popular fare from all genres. And this is where the algorithm comes in: it feeds people a steady drip of the most popular things and assures you you’re good for enjoying a diverse array of sameness.

But, and this is important, taste distinctions still matter. Social rank demands fealty to certain ideals of taste, even if artistry isn’t the taste that matters. “Omnivorism, for all of its rejections of ‘taste,’ still presupposes that cultural choice can change society,” Marx writes. “Consumerism can support allies, shame enemies, and deny prestige and financial support to oppressors.”

In the modern cultural landscape, “the hipster” has been replaced by what might be called “der kommisar,” and der kommisar has a few general rules for how to appreciate culture:

1.     Artists should create content that promotes progressive political views and reveals unconscious biases against oppressed groups.2.  Gatekeepers should work to represent minority voices by elevating minority artists.3.     Consumers should only buy artworks and goods with progressive values that are created by upright individuals.4.     Majority groups should never profit on styles or stories that originate within minority groups.5.     Critics should decanonize antiprogressive artists and their works, and question aesthetics associated with high-status distinction.*

“art should avoid being for art’s sake when social equity is at stake.” The quality of artistry matters less than supporting artists who think the right things and say the right things

I don’t think you can really understand much of the last decade or so of cultural writing—or, for that matter, cultural production—if you don’t understand this dynamic and how poptimism, omnivorism, and identity politics have all spun together to change, at the very least, how people talk publicly about the art they consume

The reality is that good comedy can’t be suppressed, particularly these days when gatekeepers have never had less power.

While he’s not especially good at comedy, Musk is a wonderful comic character: The boss who thinks he’s funny but isn’t. He’s Michael Scott from “The Office,” whose terrible jokes everyone must if not laugh at, at least put up with.

One reason Musk might think he’s hilarious is that every joke he makes gets a glowing response from his vast population of followers. Why? Comedy is subjective. But I bet a few just admire him and want his attention. This can be its own form of cringe humor and mocking it can really bring people together.

Musk doesn’t need to own his haters in a tweet. They already work for him for free. It’s entirely possible that we will look back on his tenure at Twitter and conclude that this was his only good joke. Judging by recent moves, he might screw that up, too.

the broad theme was clear: Social-media platforms are the main communication tools of the 21st century, and they matter.

With Trump at the center, the techlash morphed into a culture war with a clear partisan split. One could frame the position from the left as: We do not want these platforms to give a natural advantage to the most shameless and awful people who stoke resentment and fear to gain power

On the right, it might sound more like: We must preserve the power of the platforms to let outsiders have a natural advantage (by stoking fear and resentment to gain power).

the political world realized that platforms and content-recommendation engines decide which cultural objects get amplified. The left found this troubling, whereas the right found it to be an exciting prospect and something to leverage, exploit, and manipulate via the courts

Crucially, both camps resent the power of the technology platforms and believe the companies have a negative influence on our discourse and politics by either censoring too much or not doing enough to protect users and our political discourse.

one outcome of the techlash has been an incredibly facile public understanding of content moderation and a whole lot of culture warring.

Musk and Ye aren’t so much buying into the right’s overly simplistic Big Tech culture war as they are hijacking it for their own purposes; Trump, meanwhile, is mostly just mad

Each one casts himself as an antidote to a heavy-handed, censorious social-media apparatus that is either captured by progressive ideology or merely pressured into submission by it. But none of them has any understanding of thorny First Amendment or content-moderation issues.

They embrace a shallow posture of free-speech maximalism—the very kind that some social-media-platform founders first espoused, before watching their sites become overrun with harassment, spam, and other hateful garbage that drives away both users and advertisers

for those who can hit the mark without getting banned, social media is a force multiplier for cultural and political relevance and a way around gatekeeping media.

Musk, Ye, and Trump rely on their ability to pick up their phones, go direct, and say whatever they wan

the moment they butt up against rules or consequences, they begin to howl about persecution and unfair treatment. The idea of being treated similarly to the rest of a platform’s user base

is so galling to these men that they declare the entire system to be broken.

they also demonstrate how being the Main Character of popular and political culture can totally warp perspective. They’re so blinded by their own outlying experiences across social media that, in most cases, they hardly know what it is they’re buying

These are projects motivated entirely by grievance and conflict. And so they are destined to amplify grievance and conflict