Group items tagged

Among the right, a new kind of reactionary self-help is ascendant. Its mainstream version is legible in the manosphere misogyny of Jordan Peterson, Joe Rogan, and Andrew Tate, while more eldritch currents lurk just beneath the surface. The Nietzscheanism of internet personalities like Bronze Age Pervert—who combines ethnonationalist chauvinism in politics and personal life with a Greco-Roman obsession with physical fitness—is only one of many examples of the trend the social critic Maya Vinokour has called “lifestyle fascism.”

We might call this turbocharged version of authenticity culture “therapeutic libertarianism”: the belief that self-improvement is the ultimate goal of life, and that no formal or informal constraints—whether imposed by states, faith systems, or other people—should impede each of us from achieving personal growth

This attitude is therapeutic because it is invariably couched in self-help babble. And it is libertarian not only because it makes a cult out of personal freedom, but because it applies market logic to human beings. We are all our own start-ups. We must all adopt a pro-growth mindset for our personhood and deregulate our desires.

We must all assess and reassess our own “fulfillment,” a kind of psychological Gross Domestic Product, on a near-constant basis. And like the GDP, our fulfillment must always increase.

On the left, what gets termed “wokeness” is indissociable from self-help. How should we understand superficial, performative expressions of “anti-racism” or preening social-media politics if not as a way for self-described good-hearted liberals to make grand public displays of pruning their moral shrubbery?

Stewart’s response to the UTIs is not concern for his wife but irritation: “This guy is breaking all my toys,” he grumbles. When she gets upset that her husband keeps calling her a “cunt” and a “whore” during sex—something he professes not being able to help—Stewart does not change this habit. Instead they strike a preposterous bargain: “He will try his best not to scream cunt during sex, and I will do my best to ignore him if he does.”

What the author is trying to find in her open relationship is not sex, but self-understanding—what it means, how we get it, whether sex can provide it. And although the answers Molly arrives at are not cheaply won, they are cheap all the same.

Near the end of the memoir, the author’s mother provides the empty epiphany toward which the text careens. “Everything that happens in life,” her mom offers, “is an opportunity to learn about yourself. Marriage. Motherhood. Relationships. Even anger and illness. Nothing that happens is good or bad in and of itself. It’s all just an opportunity to learn and grow.” With this maternal revelation, Molly’s “skin starts to tingle.” She relates that the advice “feels almost holy.”

though Molly may tell herself and her readers that she is on a journey of learning and growth, the ugly truth is that More feels like a 290-page cry for help. Molly does not come off as a woman boldly finding herself, but rather as someone who is vulnerable to psychological manipulation and does not enjoy her open marriage.

if it seems like Molly Roden Winter does not want to be in an open marriage, it is because she often lets us know that she doesn’t want to be in an open marriage.

When a couples therapist asks the pair why they’re in counseling halfway through the book—prompted by a breakdown Molly experiences that stems from their marital arrangement—she explains: “We’re here because I don’t want to be in an open marriage anymore, but Stewart does.”

There are precious few sex scenes where Molly seems to be enjoying herself. When Molly is in the middle of a squirmy threesome she’s been dreading, she literally dissociates from her body, pretending that she is a director staging a scene in which her physical person is merely an actor. Molly describes how she performs her role with “a clinician’s detachment” and leaves the apartment rapidly so as not “to be pulled back into this scene.” After one of her dates repeatedly removes his condom without her consent—an act known as “stealthing,” which is considered a sex crime in a number of countries and the state of California—she contracts a series of urinary tract infections

his concept doesn’t quite capture the extent to which this relentless quest for self-optimizing authenticity has infused our social and even political sensibilities.

Winter is trapped in her therapeutic worldview, one imposed on her by an American culture that has made narcissism into not simply a virtue, but a quasi-religion that turns external obstacles into opportunities for internal self-improvement.

These obstacles include, in her case, profound gender inequality relating to Molly’s life as a parent to two sons, and a troubling family history. Molly’s mother joined a cult—and indoctrinated the author into it as a child—at the urging of a male partner in her own open marriage. The book makes tacit comparisons between Molly’s mother’s initiation into a cult at the behest of an extramarital partner, and Molly’s own initiation into an open marriage at the behest of her husband.

throughout More, the dominant emotion Molly reports is not lust but rage—primarily at the deeply unequal child-care burdens that are placed upon her. “I think about all the years I’ve spent my night alone with the kids—the dinners, the bedtimes, the dishes, the loneliness of doing it all by myself—because Stew had to work,” she laments at one point. That Stewart is now spending late nights not working (if he ever was) but rather schtupping his endless reserve of mistresses pushes Molly further to the brink: “I feel my jealousy mingle with the resentment I’ve kept at bay for years,”

Molly doubles down on her quest for self-actualization through the relentless pursuit of bitter novelty: new sexual experiences that she rarely seems to enjoy, new partners who rarely treat her kindly.

The only solution Molly can imagine is to persist in an open marriage, rather than push for an equal one. Inward sexual revolution plainly feels more possible than a revolution in who does the dishes.

Newsroom leaders, concerned that some Times journalists are compromising their neutrality and applying ideological purity tests to coverage decisions, are seeking to draw a line. 

Kahn noted that the organization has added a lot of digital-savvy workers who are skilled in areas like data analytics, design and product engineering but who weren’t trained in independent journalism. He also suggested that colleges aren’t preparing new hires to be tolerant of dissenting views

International editor Philip Pan later intervened, saying the WhatsApp thread—at its worst a “tense forum where the questions and comments can feel accusatory”—should be for sharing information, not for hosting debates, according to messages reviewed by the Journal. 

Coverage of the Israel-Hamas war has become particularly fraught at the Times, with some reporters saying the Times’s work is tilting in favor of Israel and others pushing back forcefully, say people familiar with the situation. That has led to dueling charges of bias and journalistic malpractice among reporters and editors, forcing management to referee disputes.

“Just like our readers at the moment, there are really really strong passions about that issue and not that much willingness to really explore the perspectives of people who are on the other side of that divide,” Kahn said, adding that it’s hard work for staffers “to put their commitment to the journalism often ahead of their own personal views.”

Last fall, Times staffers covering the war got into a heated dispute in a WhatsApp group chat over the publication’s reporting on Al-Shifa hospital in Gaza, which Israel alleged was a command-and-control center for Hamas.

While the Guild represents staffers across many major U.S. news outlets, its members also include employees from non-news advocacy organizations such as pro-Palestinian group Jewish Voice For Peace, Democratic Socialists of America and divisions of the ACLU. 

“Young adults who are coming up through the education system are less accustomed to this sort of open debate, this sort of robust exchange of views around issues they feel strongly about than may have been the case in the past,” he said, adding that the onus is on the Times to instill values like independence in its employees.

The publisher of the Times, 43-year-old A.G. Sulzberger, says readers’ trust is at risk, however. Some journalists, including at the Times, are criticizing journalistic traditions like impartiality, while embracing “a different model of journalism, one guided by personal perspective and animated by personal conviction,” Sulzberger wrote in a 12,000-word essay last year in Columbia Journalism Review. 

Despite such moves, NewsGuard, an organization that rates credibility of news sites, in February reduced the Times’s score from the maximum of 100 to 87.5, saying it doesn’t have a clear enough delineation between news and opinion.

Emboldened by their show of strength on Bennet, employees would flex their muscles again on multiple occasions, pushing to oust colleagues they felt had engaged in journalistic or workplace misconduct. 

One thing Powell noticed, he said, was that coverage that challenged popular political and cultural beliefs was being neglected. Powell’s work includes a story on MIT’s canceling of a lecture by an academic who had criticized affirmative action, and another examining whether the ACLU is more willing to defend the First Amendment rights of progressives than far-right groups.

Kahn, who succeeded Baquet as executive editor in June 2022, and Opinion Editor Kathleen Kingsbury said in a letter to staff that they wouldn’t tolerate participation by Times journalists in protests or attacks on colleagues.

Divisions have formed in the newsroom over the role of the union that represents Times staffers, the NewsGuild-CWA. Some staffers say it has inappropriately inserted itself into debates with management, including over coverage of the trans community and the war. 

The Times isn’t the only news organization where employees have become more vocal in complaints about coverage and workplace practices. War coverage has also fueled tensions at The Wall Street Journal, with some reporters in meetings and internal chat groups complaining that coverage is skewed—either favoring Israel or Palestinians.  

When Times staffers logged on to a union virtual meeting last fall to discuss whether to call for a cease-fire in Gaza, some attendees from other organizations had virtual backgrounds displaying Palestinian flags. The meeting, where a variety of members were given around two minutes to share their views on the matter, felt like the kind of rally the Times’ policy prohibits, according to attendees. 

In January, Sulzberger shared his thoughts on covering Trump during a visit to the Washington bureau. It was imperative to keep Trump coverage emotion-free, he told staffers, according to people who attended. He referenced the Times story, “Why a Second Trump Presidency May Be More Radical Than His First,” by Charlie Savage, Jonathan Swan and Maggie Haberman, as a good example of fact-based and fair coverage. 

Nevertheless, in more than two hours of extreme-weather depiction, the makers of “Twisters” opted to exclude even the tiniest nod to the chief driver of extreme weather.

In an interview with CNN’s Thomas Page, the movie’s director, Lee Isaac Chung, said, “I just don’t feel like films are meant to be message-oriented.”

It is not — and does not aspire to be — high cinematic art.

It is, however, a golden opportunity to talk about what scientists know and don’t know about how climate change might be affecting the formation, strength, frequency and geographic distribution of tornadoes, or why they now tend to develop in groups.

There’s a lot of talk in this movie about how tornadoes are getting bigger and more frequent, how they’re popping up in places, like New York City, that don’t historically experience the meteorological conditions that would spawn a tornado

There’s no talk at all about the science of global climate breakdown and what it will mean for people in the path of its destruction. That’s all of us.

if these filmmakers had allowed their characters — who include, after all, research scientists and climatologists — to muse aloud about how climate change might be affecting their work. In between lines like, “We’ve never seen tornadoes like this before,” would it have hurt to introduce, however briefly, the idea that something much bigger than a tornado threatens the planet those scientists are studying?

I’m guessing the decision to exclude even a passing reference to climate change in a film about weather disasters has very little to do with cinematic art, or even with climate science, and everything to do with avoiding the cross hairs of political polarity.

artifacts of popular culture have always had immense power to articulate changing attitudes, engage empathy and open firmly resistant minds. Think about how swiftly Rachel Carson’s “Silent Spring” changed attitudes toward the fragile natural world and led to new regulations of synthetic pesticides

how Joni Mitchell’s “Big Yellow Taxi” and John Prine’s “Paradise” expanded awareness of the environmental movement.

the CBS drama “Madam Secretary” proved that even a single episode with a climate-based story line could significantly affect viewers’ understanding of the human costs of climate change.

his is why Percy Bysshe Shelley called poets “the unacknowledged legislators of the world.” When art changes opinions or opens hearts, it changes the world as profoundly as any legislation does.

With MAGA politicians at every level denying that climate change even exists, real climate legislation is now nearly impossible to pass. And with the Supreme Court determined to quash all executive-branch efforts to address the changing climate, too, we seem to be at the mercy of artists to save us.

In a missed opportunity the size of an F5 tornado’s debris field, we got no help from the makers of “Twisters.”