All Episodes
Previous Next
July 24, 2022 - Sargon of Akkad - Carl Benjamin
06:06
There Are No Artists in Hollywood
| Copy link to current segment

Time Text
Look at what Western culture fucking produces now.
Jesus Christ, it is embarrassing to be a part of the West and see Hollywood producing.
Here's another reboot of some and there's I could go on for hours about how they're just the worst things in the world.
But what I find really interesting is that it's not even that they they're bad, it's like there's something aesthetically defective about everything they do.
And I've I've been looking at it like I had to watch my wife's a big fan of Resident Evil, right?
The video games.
Oh, really?
Yeah, yeah, yeah.
The actual, you know, the original video games and the first couple of movies, she really liked them, right?
She's a big fan of them, right?
Okay, fine.
And so new series comes out.
Oh, we have to watch this.
I was like, okay, go on then.
And it's so bad.
She was like, I hate this.
This isn't Resident Evil.
This is shit.
And I'm like, yeah, I know.
Let's keep watching that.
Because I'm enjoying just how shit it is.
And one thing that I've noticed about like everything, and you see this in like the modern Star Wars and everything, right?
There's a kind of quality that the people on the screen have that you don't find in previous eras because the people in previous eras were made in a different way, right?
Look at how soft-skinned all of these people are.
Look at how round their features are, you know?
Look at how the way they try and set their jaws when they're trying to give you an impression of an emotion shows you they've never really experienced true hardship, true loss, true confrontation, right?
These are the products of like the helicopter parenting and the excessive HR departments where no one can have a problem they have to solve themselves.
And so you this drips off of them to me, you know?
I'm looking at these like, you know, 23-year-old actresses or whatever, and they just look like children.
Whereas if you go back and watch the, say, like the original Star Wars, Hans Solo looks like an adult man.
You know, he's, you know, he, it's, it's a different time and it's different people.
And you can see the softness in everything they produce.
And so there's this layer of inauthenticity about everything.
You know, all of the all of the way they try to portray a genuine human emotion that you know they've never really had.
And so they don't know how to try and fool you into thinking.
There's no very similarity to any of it.
And that's the thing, you know, on top of all the shit writing and the lack of understanding of what a story is meant to be, et cetera, et cetera.
It's this like core of dead, inauthentic matter that lays at the heart of the Western cultural project at the moment.
And it's because the people involved are all technicians, right?
There's not a single artist left.
Because an artist is someone who has gone through some hard human event and has come out the other side and gone, oh my God, I need to try and explain this to people.
I need to try and explain to them what just happened to me.
And I've got, you know, the clay, whatever I'm going to work into this wild piece of art that you're not going to understand, but you're going to stare at for hours trying to figure out what I've put into it.
And the things I don't even know what I'm going to end up doing, you know, when I'm, but I'm going to put myself into this.
Those people are gone, man.
I take you watch Matrix Resurrections, right?
The latest one.
I haven't.
I have it.
Oh, no, no.
Watch it.
It's not a story.
It's a confession.
I did a big breakdown on it on Lotusease.com, actually, because this was so perfect, right?
The entire film is Lana Wachowski's admission that every artist has died.
And she is essentially the last artist.
And this is her confession of the end of her career and her profession as an artist.
Because she in it, right?
So the framing of it is that Neo is actually a video game designer.
He's he's he's made something called the matrix, which is the you know a video game of the film, you know, so it's slightly different.
But it's basically he's made the matrix, and now the production company literally wants them to make another matrix.
And you can tell this is just a facsimile for Lana Wachowski's own life, yeah.
And she's like, Yeah, but I can't.
And it's like, okay, well, why not?
And so they shows you the production process, and you can see that, oh my god, this is exactly what they do every day, right?
And so you've got this very diverse, like, you know, there's like a dozen or so, you know, like, I don't know, people who are chipping in ideas, right?
But what they're doing is they're essentially analyzing that which already exists, someone else's artistic vision, and they're going, oh, what is the matrix really about?
As if they can extract a theory from studying the matrix enough and then create something artistic from that.
It's like, no, no, no, no, no.
You are on the wrong side of this.
You know, the artist is way over here, you know, the generative engine that doesn't really understand what it's trying to put out, that is taking a big risk when it creates its art, right?
You guys, and you, the, the, the, the terrain they're in is the most important thing.
Like, Neo's life, he gets up in his air-conditioned apartment, it's a beautiful apartment.
He looks out of the window and sees glass steel towers.
He gets in an elevator, gets his coffee, goes and sits down with this focus group.
They theorize about the matrix, and then he just goes to the gym and then goes back to his bed in a glass tower.
And that's every single day.
That's the stimulus that he gets.
That's his intellectual stimulus.
And so, everything that he sees, all that comes through the black screen on his phone, you know, the reflective screen on his phone.
He's just looking at his phone.
That's his window to experience.
And that's what the problem is.
You know, this is again, Lana.
I don't know whether she knew she was doing this, but you can, it's these people need to go out and have challenges, but they can't.
They don't know what they're doing.
They're essentially trapped in these giant cities without understanding the value of not actually having everything at hand.
And so the kind of people who are making all of these things again, it might be Hollywood being a victim of its own success here.
▲
Export Selection