"The political deployment of GLP-1s is fascistic... because the conditions under which they become necessary are shaped by a world fixated on genociding fat people...."

"Every time a government decides whose bodies must be protected and whose bodies must be erased for the sake of national imagery, this is body fascism."

Said Da’Shaun L. Harrison, quoted in "'Ungendered’ activist claims GLP-1s are ‘fascist’ and ‘genocide fat people’ in unhinged moment during DSA conference" (NY Post).

Also quoted there, Beatrice Adler-Bolton: "We have to give up the fantasy of being fitter than the fascists.... Fitness is a measure of relative disposability under capitalism. Our task is not to become less disposable to become more useful to the ruling order… The point is not to beat the fascists at their own game. It is not to lay a better claim on their own territory by being fitter, more eugenic. In fact, the more dysgenic, the better, I think...."

For an effort at defending Adler-Bolton, here's "anti-fascist dad" Matthew Remski:

"Not everyone at the Anti-Capitalist Co-Working Club is an actual anti-capitalist...."

"The club isn’t for debating Marxist theory or organizing labor unions. For many, the name simply signified a set of values they believe are missing from modern work culture: rest, community and self-actualization.The club, which operates on Fridays out of a recently opened arts space called Living Room in Mount Pleasant and costs $20 per day, was founded last month as an alternative to the sort of co-working spaces that gained popularity after the pandemic — such as WeWork and Industrious that allowed remote workers a quiet place to log in outside of their homes. Unlike these spots, the Anti-Capitalist Co-Working Club explicitly rejects the 'grindset.'"

From "Even anti-capitalists need to work. Enter a different kind of co-working space. In a response to D.C. work culture, the Anti-Capitalist Co-Working Club invites people to spend their 9 to 5 in ways that reject the grind" (WaPo)(gift link).

$20 per day! Somebody's trying to make money. But who would join? You pay someone else to brand your doing your own work as anti-capitalist. But you're working! Maybe it's a way to get a sense of community with other women who are on the left. But you're working!

“Let’s all take a big breath together,” club organizer Sarah Stern said in a firm, gentle voice. The 20 or so people in the airy room inhaled slowly in unison, after a long stretch of silent work time....

In case you wondered why I said "women."

A typical session involves 90 minutes of independent work time followed by a lunch break, where Stern invites attendees to chat with neighbors by using prompt cards with questions like “What’s something you’ve unlearned about ‘hustle’ culture?” and “What’s your go-to ritual when you need to recharge?” Ninety more minutes include reminders to stretch and an art break....  An “art library” has supplies to paint, embroider or sew, including a jar filled with real cicada wings. The soft instrumental songs are akin to what one might hear in a yoga class....

How embarrassing! Credit to Stern for getting the Washington Post to write an article about her little capitalistic anti-capitalistic scheme for extracting $20 bills from ladies who long for a chance to make friends. 

"The Girlbossification of AI/Reese Witherspoon, Mel Robbins, and Sheryl Sandberg are telling women to use ChatGPT or get left behind."

That's a headline at The Cut.

I haven't read the article (yet). I just went to AI, asked it to read the article for me, and added the prompt: "I thought 'girlboss' was a dying framework." Grok agreed with me about "girlboss."

You're spot on— "girlboss" has been widely declared dead (or at least on life support) for years. By the mid-2020s, the term had become a punchline for toxic hustle culture, burnout aesthetics, exclusionary corporate feminism, and the "rise and grind" era that promised women could "have it all" if they just leaned in harder. Cultural commentary shifted toward "soft life," "snail girl" vibes, quiet quitting, slow living, and backlash against the idea that ambition equals endless optimization under capitalism. The May 11, 2026, The Cut article you linked ("The Girlbossification of AI") essentially argues that this supposedly dying framework isn't gone—it's just been updated for the AI era. Author frames it as a revival (or mutation) where high-profile women like Reese Witherspoon, Mel Robbins, and Sheryl Sandberg are repackaging AI tools (ChatGPT, Microsoft Copilot, etc.) as the new essential for women's career survival and empowerment. It's no longer purely aspirational "have it all" optimism; it's more defensive: don't get left behind, don't backslide, automate the drudgery so you can cling to what you've got.

You're spot on— "girlboss" has been widely declared dead (or at least on life support) for years. By the mid-2020s, the term had become a punchline for toxic hustle culture, burnout aesthetics, exclusionary corporate feminism, and the "rise and grind" era that promised women could "have it all" if they just leaned in harder. Cultural commentary shifted toward "soft life," "snail girl" vibes, quiet quitting, slow living, and backlash against the idea that ambition equals endless optimization under capitalism. The May 11, 2026, The Cut article you linked ("The Girlbossification of AI") essentially argues that this supposedly dying framework isn't gone—it's just been updated for the AI era. Author frames it as a revival (or mutation) where high-profile women like Reese Witherspoon, Mel Robbins, and Sheryl Sandberg are repackaging AI tools (ChatGPT, Microsoft Copilot, etc.) as the new essential for women's career survival and empowerment. It's no longer purely aspirational "have it all" optimism; it's more defensive: don't get left behind, don't backslide, automate the drudgery so you can cling to what you've got.

But — I'm reading the article now —  The Cut isn't promoting "girlbossification." It's sick of these girlboss celebs:

"This is a patient that was very sick.... It went through an operation on Liberation Day, and it's going to be... a very booming country."

"It's going to be amazing, actually.... The operation's over, and now we let it settle in. You see the plants are starting to construction, already. We have many plants — Indiana massive auto plant...."

Do you like the reasoning through analogy? The economy is a person, its supposed problem is a sickness, the tariffs are a surgical procedure, and the patient is in the post-op stage. That might be a difficult stage, with various pains and struggles. Even if this is a good analogy — economies are like human bodies, and tariffs are like an operation for an illness, and the immediate effect is a stage in the recovery from surgery — we still don't know if the right medical treatment was chosen and performed successfully.

For the annals of Things I Asked Grok: "Could you summarize the Susan Sontag book 'Illness as Metaphor' and say whether it has some use in critiquing the above-stated analogy about the economy?"

That book is less about using illness as a metaphor to explain something other than illness and more about using something other than illness to explain illness. From "Illness as Metaphor" (commission earned):

"During the Cold War, we classified entire areas of physics and took them out of the research community—entire branches of physics went dark..."

"... and didn’t proceed. If we decide we need to, we’re going to do the same thing to the math underneath AI."

Said Marc Andreessen, on the podcast "Honestly with Bari Weiss."

Marc Andreessen (@pmarca) says he attended “absolutely horrifying” meetings where Biden’s government vowed to take “complete control” over AI technology:

“They basically said AI is going to be a game of 2 or 3 big companies working closely with the government… We’re going to… pic.twitter.com/REjkfgJkyV

— Honestly with Bari Weiss (@thehonestlypod) December 10, 2024

Here's a transcript of the entire podcast. Excerpt, giving context to the quote above:

These kids today take communism seriously....

I had the honor of sitting down with @elonmusk for an additional hour while we were in Kraków this week. We hit it all: DEI, @SpaceX, aliens, the meaning of life, and how to hold on to the American dream. Watch our full conversation, right here on X: pic.twitter.com/Wh5EC64zde

— Ben Shapiro (@benshapiro) January 25, 2024

"[Authentic Brands Group] has owned [Sports Illustrated] since 2019 and sold the publishing rights to a company called the Arena Group."

"The Arena Group missed a recent payment for those publishing rights, prompting ABG to pull the publishing license.... 'As a result of this license revocation, we will be laying off staff that work on the SI brand,' the note to staff read...."

From "Sports Illustrated lays off most of its staff, threatening iconic brand’s future" (WaPo).

IN THE COMMENTS: There are many variations on "Get woke, go broke" — including "Sports Illustrated Bud-lit itself" (from Ice Nine) — but I like this from Prof. M. Drout:

"The first data on births since Roe v. Wade was overturned shows how much abortion bans have had their intended effect."

"Births increased in every state with a ban, an analysis of the data shows. By comparing birth statistics in states before and after the bans passed, researchers estimated that the laws caused around 32,000 annual births, based on the first six months of 2023, a relatively small increase that was in line with overall expectations.... 'This is an inequality story,' Professor [Caitlin] Myers said. 'Most people are getting out of ban states, one way or another, and more people in protected states are getting abortions. And at the same time, this shows something those data cannot show: There’s a significant minority of people in ban states that do get trapped.'"

From "How Many Abortions Did the Post-Roe Bans Prevent? The first estimate of births since Dobbs found that almost a quarter of women who would have gotten abortions carried their pregnancies to term" (NYT).

Here's an interesting comment over there:

"Casino owners discovered in the late 1980s that people who gambled on screens became addicted three to four times faster..."

"... than those who gambled at tables. The rest of America had learned that lesson by 1992, when a third of homes had Nintendo systems. Men without jobs have video games the way men without girlfriends have pornography, and growing numbers of men are finding the substitute good enough to be going on with, declining to pursue either permanent employment or marriage. The historian David Courtwright calls this 'limbic capitalism,' the redirection of America’s productive energies into inducing and servicing addictions."

From "Boomers/The Men and Women Who Promised Freedom and Delivered Disaster" — a 2021 book by Helen Andrews (and I earn a commission if you buy it using that link).

Here's a 2019 Vox interview with Courtwright. Excerpt: "I make a distinction between ordinary capitalist enterprises like companies that sell people rakes or plows or nails or whatever.... But I think of limbic capitalism as capitalism’s evil twin, a really cancerous outgrowth of productive capitalism. There is a certain class of brain-rewarding products that lead to a form of pathological learning that we call addiction...."

"Haaning's new work Take the Money and Run is also a recognition that works of art, despite intentions to the contrary, are part of a capitalist system..."

"... that values a work based on some arbitrary conditions. Even the missing money in the work has a monetary value when it is called art and thus shows how the value of money is an abstract quantity. Haaning's new work Take the Money and Run is also a recognition that works of art, despite intentions to the contrary, are part of a capitalist system that values a work based on some arbitrary conditions."

Said the Kunsten Museum's exhibition guide, about the 2 completely blank canvases it chose to display, quoted in "A Danish artist has been ordered to repay a museum after delivering blank canvases" (NPR).

The museum had advanced Jens Haaning over $75,000 so that he could recreate an earlier work of his in which he attached actual cash to the canvas. In that earlier work, the money was supposed to represent the wage gap between Danish workers and Austrian workers. Haaning is considered a "conceptual artist," and the new work expresses a concept that the museum made a show of understanding (or pretending to understand).

"It seems Ice Cube has become quite the conservative media darling lately, sitting down with not just Carlson, but Joe Rogan and Piers Morgan as well."

"He’s joining a long list of rappers – Kanye West, Da Baby, Kodak Black, Lil Pump – who have all put themselves in dangerous proximity to conservative politicians even as rightwing populism threatens to destroy their communities.... So what do these rappers have in common with rightwingers who wouldn’t otherwise touch them with a 10ft pole? Shared values. In discussions about money, gender identity, public health and a variety of social issues, rappers and rightwingers have a lot more in common than you’d immediately think. Many people from both groups share hypermasculinity, conservative Christian values, and a distrust of social institutions (justified or not); and on this common ground sits a messy and dangerous alliance full of people who ordinarily would hate each other, but have come together to make vulnerable people their enemy...."

Writes Tayo Bero in "Why are Black rappers aligning themselves with the right? Ice Cube has joined a long list of rappers who have cuddled up with conservative pundits and politicians" (The Guardian).

"'F*** the rich. F*** the police. F*** the state. F*** the colonial death camp we call 'Canada.'"

Wrote Gabriel Sims-Fewer, owner of pay-whatever-you-want café, The Anarchist, quoted in "Go woke, go broke: Toronto 'anti-capitalist' anarchist café where customers 'pay what you can' shutters after a year after failing to make enough money. Owner slammed cops as 'pigs' and late Queen as a 'parasite'/The Anarchist in Toronto, Canada has shuddered after a year in business/The cafe had a 'pay what you can' model and was 'anti-capitalist/Shop's owner cited 'lack of generational wealth/capital seed' as the reason" (Daily Mail).

I love the notion that the café had such depth of feeling that it "shuddered." When capitalist-pig owned places go out of business, they merely shutter.

That's the only reason I'm blogging that too-predictable news. Well, that and the fascinating phrase "the colonial death camp we call 'Canada.'" Canada normally flies under the radar, following the strategy of inconspicuousness that works all too well in this crazy world.

10 days ago on this blog, we looked at the question "Why wouldn't most people decide the best way to live is to be as inconspicuous as possible?" 

Do pay attention to inconspicuous things. And when you see them, don't be afraid to offset their inconspicuousness by using hyperbole. Phrases like "the colonial death camp we call 'Canada'" can help people think more deeply about things.

Or would you rather bray at obvious things like the way pay-whatever-you-want cafés go out of business?

"When psychologists asked what sort of habits and choices were markers of creativity, they came up with things like 'divergent thinking' and 'tolerance for ambiguity.'"

"They reported that, on tests, creative people preferred abstract art and asymmetrical images. ... [T]hose preferences also happened to match up with the tastes of the mid-century educated classes. To put it a little more cynically, the tests seem to have been designed so that the right people passed them.... [In 'The Cult of Creativity,' Samuel W.] Franklin argues that the appeal of workplace creativity was that it addressed two anxieties about modern life: conformity and alienation. Postwar intellectuals worried about the 'organization man' (the title of a book by the journalist William Whyte) and the 'other-directed' personality (diagnosed in the sociologist David Riesman’s 'The Lonely Crowd'). These were seen as socially dangerous types. People who did what they were told and who wanted to be like everyone else, who were not 'inner-directed,' were people easily recruited to authoritarian movements...."

Writes Louis Menand, in "The Origins of Creativity/The concept was devised in postwar America, in response to the cultural and commercial demands of the era. Now we’re stuck with it" (The New Yorker)(discussing ).

You might wonder how Menard argues his way to the notion that "now we're stuck with" individualism and nonconformity. I can't quote the whole article, but it has to do with capitalism capitalizing on the concept of creativity. As Franklin puts it: "The concept of creativity never actually existed outside of capitalism." 

"Yes, Trumpy populism was halting and self-contradictory, but the variety that emerged in Republican circles after Mr. Trump left office was downright fake."

"Correctly perceiving working- and middle-class discontent with corporate power and economic insecurity, Republicans in 2022 tried to channel it into cultural grievances, ginning up outrage over 'woke' sensitivity trainings in the workplace, for instance. A much more effective way to check corporate power would actually be to empower workers — which is what unions do best. Instead, the right continued to pursue its old program of undermining the New Deal. Fake G.O.P. populism challenged 'woke capital' — companies that it believed had become overly politically correct — but didn’t dare touch the power of corporate America to coerce workers and consumers, or the power of private equity and hedge funds to hollow out the real economy, which employs workers for useful products and services — or used to, anyway." 

Writes Sohrab Ahmari in "Why the Red Wave Didn’t Materialize" (NYT).

Now, I'm thinking I have 2 kinds of readers: the ones who are saying why should I know or care about the Madison Public Market and...

... the ones who are saying yes, that's the thing that Althouse questioned that one time and Paul Soglin, the Mayor of Madison, instead of engaging respectfully, decided to attack her big time, so she was forced to resort to reason and mockery?

I'm reading "Madison Public Market all but scrapped, as officials make one last plea to alders for funding" (WKOW).

Here's the post I wrote on January 10, 2017:

Oh, Spotify, you know us so well.

Meade and I have separate Spotify accounts, but we link them in a playlist they call "Ann + laurencemeade/A blend of music for Ann and laurencemeade." Today, we noticed a spot to touch with an option called "View Blend story." Okay. Spot touched. This screen pops up:

 

"The song that brings you to together"! Ha ha. Can't you imagine us sitting around hating capitalism together? I wonder what the actual song that brings us together is. 

You can listen to the song here. I'm not recommending it, just showing you that it is a real song:

"Although Piketty favors much higher income tax rates ('virtually confiscatory tax rates have been an immense historical success'), policies that redistribute property rather than income are the heart of his program."

"These would include reparations for descendants of enslaved and colonized people, encouraging countries in the global south to tax the fortunes of nonresidents who do business there, cancellation of debts and a program he calls 'inheritance for all,' in which wealth taxes would reduce large fortunes and provide everyone with a financial cushion. He would also take a large measure of control over corporations away from their managers and shareholders and give it to employees, and create 'a system of egalitarian funding for political campaigns, the media and think tanks.'... He is well aware that changes on the scale he is proposing never happen incrementally.... Piketty doesn’t make predictions, but he treats the current system of 'hypercapitalism' as being obviously doomed. Other than socialism, the only real alternatives are authoritarianism, Chinese-style Communism or 'reactionary projects' like ISIS. ... Absent disaster, it seems possible, or even likely, that [incremental adjustments] will move economic policy in the direction Piketty would want... though to an extent that he would consider pathetically inadequate."

From Nicholas Lemann's NYT review of Thomas Piketty's new book "A Brief History of Equality."

"That this vision appeals to so many viewers, especially young ones, suggests a chilling and bleak perspective — on capitalism, on 'freedom,' on individual agency..."

"... that should stop us in our tracks.... Maybe the viewers of 'Squid Game' just thrill to the bold, cartoon-colored shock of it: Its visual and spiritual aesthetic are what you’d get if you crossed an episode of 'Teletubbies' with a highlights reel of Quentin Tarantino at his grisliest.... Then there’s the indiscriminate manner in which a huge hit becomes an even bigger phenomenon — a trend — divorced from its actual content.... The Times also published an article by Vanessa Friedman about how track suits were newly 'hot' because the 'Squid Game' contestants wear them (as a kind of prison uniform, mind you). The Times published another article, by Christina Morales, about the history of dalgona candy, which is a deadly prop in one of the series’s elimination contests. There was a link to instructions, by Genevieve Ko, on how to make it. In a week and a half, on Halloween, we’ll be bombarded by 'Squid Game' costumes.... To some extent, 'Squid Game' is big because it’s big, its first-burst popularity generating attention that begets even greater popularity as everyone wants in on the action and as a curiosity’s slippery tentacles reach farther and farther into people’s consciousness. But its commentary on class, greed and savagery is much too central to be incidental... [T]his portrait of life as a sadistic lottery and poverty as a hopeless torture chamber has resonance...."

From "Why the Popularity of ‘Squid Game’ Terrifies Me" by Frank Bruni (NYT).

1. Young people have been watching horror and violence for decades. Consumers have a taste for what they've consumed in the past. It's the kind of thing where to give more of the same, you have to give it more intensely and in a greater dose. The manufacturers of violent material do what they know they need to do to keep shocking.

2. But maybe it's not just a taste for horror and violence. Maybe it's the critique of capitalism that "has resonance." Bruni assumes that viewers begin with a gloomy attitude and that the show is confirming their pessimism. He does not consider the possibility that the show is anti-capitalism propaganda, designed to infect the mind of the young — not just to play with their pre-existing angst, but to direct their thinking.

3. Bruni provides some criticism of the New York Times. Once something is popular, it generates life-style articles that ride on the trend. He gives us some evidence, but doesn't observe the genderedness of this phenomenon. I can't help observing that his examples are articles written by women and the subjects — food and fashion — are stereotypically female. 

WaPo's front page features 2 different articles about North Korea promoting its superiority.

1. "Shirtless soldiers lie on broken glass, smash bricks with hands as Kim Jong Un vows ‘invincible’ military": "The extraordinary videos were part of a 'self-defense' exhibition on Monday in which totalitarian North Korea showcased its latest nuclear and other weaponry..."

2. "Netflix hit 'Squid Game' is so big North Korea is using it to slam South Korean society": "While the dystopian series has gripped viewers around the world with its gruesome tale of economic despair and deadly childhood-inspired games, a North Korean state-run website says the production serves to highlight the 'beastly' nature of 'South Korean capitalist society where mankind is annihilated by extreme competition.' In a post published Tuesday, the website said 'Squid Game' reflects an 'unequal society where the strong exploit the weak.'... In June, North Korean leader Kim Jong Un branded South Korea’s entertainment scene — including K-pop — 'a vicious cancer.' He accused it of corrupting the 'hairstyles, speeches and behaviors' of North Koreans...."

Cease and desist!

Yesterday when we were shooting, these industrious young entrepreneurs opened a lemonade stand near our set and called it a “Clerks Jr.” It totally worked, resulting in our crew spending much money there. Then I called my lawyer and sent all the kids cease-and-desist orders. pic.twitter.com/7t75z1vcqQ

— KevinSmith (@ThatKevinSmith) August 3, 2021