Mezialix
Iron
- Joined
- Sep 16, 2025
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The 21st century has been marked by an interesting trait—the slow death of culture. Fewer and fewer original films are released; music is just slowed & reverb versions of old songs (classical music is increasingly only forced on asian kids by their parents); major TV channels are watched by 55-year-old boomers; internet content has turned into Tung-Tung Sahur and Skibidi toilets; how many people have even heard of paintings or theaters?
I think the reason for this is that the creative elite—the small percentage that produces culture—now has nothing to "deconstruct" and no one to rebel against in our time.
It's an indisputable fact that the cultural elite (synonymous with the creative one) tends toward left-wing views and progressivism. This predisposition is incredibly strong and, given that politics correlates with a person's psychology, has largely defined creators since the 20th century. In the past, the creator was surrounded by a predominantly conservative society and even many conservative representatives in the elite: "old mustachioed uncles and grandpas." The impulse of his leftism, rebellion, and sense of elitism harmoniously merged in a motivated "deconstruction" of the surrounding conservative mainstream or right-wing elites. Jack London, Bernard Shaw, or Hemingway could endlessly churn out pompous books criticizing capitalism, rich elites, and bellicose hurrah-patriots—deconstructing the surrounding conservative society. "People of good will" praised socialist revolutions, Lenin, the "spirituality of indigenous peoples," or Spanish Republicans—all against the evil conservative rich of their homeland. You could endlessly refute capitalism, racism, sexism, colonialism, patriotism, aristocracy, and the wealthy.
But the 21st century has reshuffled all the cards.
The "mustachioed conservative pontificating about white superiority" straight out of Fitzgerald's books no longer exists. No matter how hard you search for this perfect villain in the establishment, you'll come up empty. "Mainstream society" consists of people where every third is a fat, every fourth is non-white, and 40% of women have tattoos—this ain't the horrible white middle class of the 1950s. If the state colonizes anyone now, it's its own population through immigration.
And here's the problem: who or what to rebel against? To repeat—the creator is a leftist, and therefore approves of all the above and neither wants nor dares to criticize it. Emptiness sets in. There's nothing to create. Big-brained people call this "postmodernism."
In the dead media desert, all that's left is replacing old characters with black lesbians and shooting caricatures of Trump.
For the creative world—what the artists themselves don't understand at all—a "conservative core" in society and the elite is EXTREMELY necessary: someone to kick, scold, and refute. Without it, creators turn into zombies. It's easy to make caricatures of a "neoliberal" society of white christians, easy to curse "rich villains" in the form of white guys working in finance, easy to caricature a strict patriarchal father and immoral privileged racists. But what do you do when none of these people exist anymore?
P.S. I forgot to mention an important factor—demographics. Who used to make art, like in Hollywood? High-IQ left-wing jewish men. Who does it now? Women, blacks, asians. Jewish men knew how to wrap "the agenda" subtly and beautifully, like a candy with a drop of poison, but Lakisha Touten (proud black lady), alas, can't do that—her agenda is direct, stubborn, rigid, even dumb and crude.
I think the reason for this is that the creative elite—the small percentage that produces culture—now has nothing to "deconstruct" and no one to rebel against in our time.
It's an indisputable fact that the cultural elite (synonymous with the creative one) tends toward left-wing views and progressivism. This predisposition is incredibly strong and, given that politics correlates with a person's psychology, has largely defined creators since the 20th century. In the past, the creator was surrounded by a predominantly conservative society and even many conservative representatives in the elite: "old mustachioed uncles and grandpas." The impulse of his leftism, rebellion, and sense of elitism harmoniously merged in a motivated "deconstruction" of the surrounding conservative mainstream or right-wing elites. Jack London, Bernard Shaw, or Hemingway could endlessly churn out pompous books criticizing capitalism, rich elites, and bellicose hurrah-patriots—deconstructing the surrounding conservative society. "People of good will" praised socialist revolutions, Lenin, the "spirituality of indigenous peoples," or Spanish Republicans—all against the evil conservative rich of their homeland. You could endlessly refute capitalism, racism, sexism, colonialism, patriotism, aristocracy, and the wealthy.
But the 21st century has reshuffled all the cards.
The "mustachioed conservative pontificating about white superiority" straight out of Fitzgerald's books no longer exists. No matter how hard you search for this perfect villain in the establishment, you'll come up empty. "Mainstream society" consists of people where every third is a fat, every fourth is non-white, and 40% of women have tattoos—this ain't the horrible white middle class of the 1950s. If the state colonizes anyone now, it's its own population through immigration.
And here's the problem: who or what to rebel against? To repeat—the creator is a leftist, and therefore approves of all the above and neither wants nor dares to criticize it. Emptiness sets in. There's nothing to create. Big-brained people call this "postmodernism."
In the dead media desert, all that's left is replacing old characters with black lesbians and shooting caricatures of Trump.
For the creative world—what the artists themselves don't understand at all—a "conservative core" in society and the elite is EXTREMELY necessary: someone to kick, scold, and refute. Without it, creators turn into zombies. It's easy to make caricatures of a "neoliberal" society of white christians, easy to curse "rich villains" in the form of white guys working in finance, easy to caricature a strict patriarchal father and immoral privileged racists. But what do you do when none of these people exist anymore?
P.S. I forgot to mention an important factor—demographics. Who used to make art, like in Hollywood? High-IQ left-wing jewish men. Who does it now? Women, blacks, asians. Jewish men knew how to wrap "the agenda" subtly and beautifully, like a candy with a drop of poison, but Lakisha Touten (proud black lady), alas, can't do that—her agenda is direct, stubborn, rigid, even dumb and crude.
