I Would Prefer Not To Live Through The Apocalypse

I’m currently half-reading Annie Jacobsen’s Nuclear War: A Scenario, which is perhaps not the healthiest book to have sitting on the nightstand if you are already inclined to think in worst-case scenarios. And now, in an almost comically unfortunate bit of timing, the subject of Jacobsen’s newest book, Biological War: A Scenario, has wandered back into the news.

A laboratory worker in Siberia has died from what appears to have been pneumonic plague. She worked at the Irkutsk Anti-Plague Institute, and Russian authorities have placed roughly 200 people who may have had contact with her under medical observation. So far, according to current reporting, there does not appear to be evidence of a wider outbreak. The people being monitored have reportedly tested negative and are not showing symptoms. In other words, at the moment this looks like precisely the sort of thing public-health systems are designed to contain: identify the case, trace the contacts, isolate where necessary and prevent further transmission.

So: no reason to panic.

And yet.

There are few phrases less reassuring to someone with an active imagination than “possible laboratory-linked case of pneumonic plague in Siberia.”

Part of the problem is Russia itself. The Soviet Union did not exactly establish a sterling reputation for transparency when something catastrophic happened inside its borders. Chernobyl remains the obvious example: denial, delay, secrecy and an institutional instinct to control information before confronting reality. Modern Russia is not the Soviet Union, of course, and none of that proves that Russian authorities are concealing anything about this particular incident. But historical memory matters. When officials say that everything is under control, the rational response may very well be to believe them provisionally while keeping one eyebrow raised.

For the moment, that is exactly where I am. I have no particular reason to believe this event is going to become anything larger. The available evidence suggests that it probably won’t.

But I think in stories.

More specifically, I tend to think in scenarios. Give me a small, strange event somewhere in the world and some portion of my brain immediately begins gaming out Act Two. What happens if the containment procedures fail? What happens if somebody was infected before anyone realized what was happening? What happens if the first official explanation turns out to be incomplete? What happens when international travel enters the equation? What happens when governments begin withholding information because they are afraid of panic, only to create far more panic once the truth finally emerges?

Most of the time, of course, the answer is: nothing happens. The weird news story remains a weird news story. Someone gets sick, professionals do their jobs, the disease is contained and the rest of us move on to whatever fresh catastrophe the Internet has selected for us the following morning.

The difficulty is that biological risk has a peculiar asymmetry. Nuclear weapons are horrifying, but they are also conspicuous. Someone has to build the bomb. Someone has to maintain it. Someone has to deliver it. Somewhere along the line there are satellites, launch facilities, submarines, bombers, missiles, command systems and thousands of people whose job is to know where all of those things are.

A pathogen is different. Once it becomes transmissible among humans, the delivery system is us.

That is the nightmare at the heart of Jacobsen’s Biological War: A Scenario. Like Nuclear War, the book uses a fictional sequence of events to explore dangers that are rooted in real technologies, historical programs and government planning. Her biological scenario begins with a laboratory accident in Russia involving an engineered pathogen and then follows the consequences outward as infection outruns the systems designed to contain it. Jacobsen has described the timeline of her scenario as going from the initial outbreak to anarchy in just six days.

There are perfectly reasonable criticisms to make of this approach. Scenario books almost inevitably choose assumptions that make the scenario interesting. A pathogen that fizzles out after three infections does not make much of a thriller. Critics of Jacobsen have argued that her biological scenario pushes too confidently toward rapid social collapse and does not spend enough time on the many ways containment, medicine, human behavior and sheer luck might interrupt the chain of events. Even sympathetic reviewers have noted that specialists could reasonably dispute the speed and certainty with which her imagined catastrophe unfolds.

That criticism matters. There is an enormous difference between saying that something could happen and saying that it will happen.

But that is also why I find scenario thinking useful.

The point of the exercise is not necessarily prediction. It is stress-testing assumptions.

Chernobyl did not happen because somebody accurately predicted Chernobyl in advance. Neither did COVID-19 unfold according to some screenplay sitting in a government filing cabinet. Real disasters are messy. They depend upon bureaucratic failures, human mistakes, bad incentives, missed signals, unlikely coincidences and decisions that seem reasonable right up until the moment they are revealed to have been disastrous.

Scenario thinking simply asks us to follow the chain.

What if?

And then what?

And then what?

That can become paranoia if you aren’t careful. Every laboratory accident is not the opening chapter of The Stand. Every unusual cluster of disease is not the beginning of civilization’s collapse. Human beings are notoriously bad at reasoning about rare, emotionally vivid events, and a frightening story can make an extraordinarily unlikely possibility feel imminent.

But there is an opposite failure mode too: refusing to imagine a catastrophe because imagining it feels hysterical.

That is the uncomfortable territory I find myself occupying when I read about this incident in Russia while simultaneously reading Annie Jacobsen. My rational brain says the situation appears contained. There is presently no evidence that we are watching the beginning of some global biological catastrophe. Public-health authorities know how plague works, antibiotics exist, contacts are being monitored and there is every reason to expect this story to disappear from the headlines.

I hope it does.

But another part of my brain cannot help turning the little wheel marked SCENARIO.

Because the lesson of the last century is not that civilization is constantly on the verge of collapse. It plainly isn’t. The lesson is stranger and perhaps more unsettling: systems that look enormously robust can occasionally prove frighteningly brittle when confronted with exactly the wrong sequence of events.

Almost every day, nothing happens.

Almost every alarm turns out to be manageable.

Almost every frightening possibility remains only a possibility.

And then, very occasionally, history decides to write the scenario for us..

SPOILERS FOR DIGGER: How I Would ‘Fix’ Digger Without Ruining What Makes It Great

Warning: this essay contains major spoilers for Digger, including the movie’s central structural reveal and ending. Also, this was written by ChatGPT.

I liked Digger a great deal, perhaps precisely because it is such an unruly movie. It is strange, aggressive, formally playful and unusually demanding of its audience. It asks you to reconsider not merely what happened in the story, but what kind of story you have been watching in the first place. That is part of its appeal. It is also, I suspect, the reason a lot of people are going to bounce right off it.

There is a more conventional version of Digger hiding inside the movie we actually got, and I have been thinking about how one might restructure it without destroying the ideas that make it interesting. The fundamental change would be simple: instead of withholding the fact that we are watching a theatrical production until well into the movie, establish from the beginning that the story takes place in the future and that a play about Digger Rockwell is being produced. Then make the beginning of the dress rehearsal the inciting incident.

That sounds like a small change. It would actually transform the movie.

As released, Digger initially presents itself as an exaggerated climate-disaster satire centered on Digger Rockwell, the grotesque oil billionaire played by Tom Cruise. The performances are enormous. Characters behave theatrically. Scenes sometimes feel artificial or oddly heightened. The movie initially encourages us to interpret all of this as the aesthetic language of an especially broad satire.

Then the floor drops out.

We discover that Cruise is not really playing Digger Rockwell. He is playing Curtis Markson, an actor playing Digger Rockwell in a theatrical production called Fossil Fools. The world of the movie lies decades beyond the events we thought we were watching. Digger Rockwell was a historical figure. The catastrophe already happened. The bizarre, heightened story we have been following is a dramatization created by people living in the damaged civilization that came afterward.

It is a tremendous conceptual trick, but it presents a real storytelling problem. The movie has not simply hidden information from us. It has hidden the category of narrative we are watching.

That distinction matters.

A traditional plot twist tells us that something inside the story is different from what we believed. A character was secretly working for the enemy. An event occurred in a different order. Someone we trusted was lying. Those revelations force us to reconsider the facts.

Digger asks us to reconsider the ontology of the movie itself.

We thought we were watching historical events unfold. In reality, we were watching actors interpret those events for an audience living much later. The movie suddenly asks us to mentally rebuild nearly everything that came before.

For viewers willing to do that work, the effect is exhilarating. For everyone else, it risks feeling like the filmmaker changed the rules halfway through the game.

My more accessible version would announce those rules almost immediately.

Imagine the movie opening not with Digger Rockwell, but with Curtis Markson arriving at a theater sometime in the future. We do not need a massive exposition dump. In fact, very little needs to be explained. We see a poster advertising Fossil Fools: The Digger Rockwell Story. We catch glimpses of unfamiliar technology. People carry breathing equipment that they treat as casually as we might carry umbrellas. News screens refer to environmental alerts whose significance we do not yet understand.

Curtis meets Hannah, the director. Kenny Rockwell, the wealthy producer and descendant of the real Digger, is somewhere in the orbit of the production. Everyone is preparing for a major dress rehearsal.

Then the rehearsal begins.

That becomes the inciting incident.

Now we enter the same Digger Rockwell material the existing movie gives us, except the audience immediately understands what it is watching. The exaggerated performances are not puzzling. They are theatrical convention. The characters are behaving like actors because they literally are actors.

That single structural decision would free the audience to concentrate on the much more interesting question: Why is the play portraying history this way?

It would also make Curtis the protagonist from the beginning.

That is one of the strangest structural consequences of the existing film. For much of Digger, we understandably assume Digger Rockwell is our protagonist because Tom Cruise is playing him and the movie seems to revolve around him. Only later do we discover that Curtis Markson is the actual dramatic center of the story. The protagonist effectively changes retroactively.

That is intellectually clever. Dramatically, it is awkward.

If we meet Curtis first, his conflict can become the spine of the entire movie. Perhaps he initially thinks Fossil Fools is a simple morality play. Digger Rockwell was a monster who helped destroy the planet, and Curtis has been hired to portray him accordingly.

But during the rehearsal process Curtis starts digging into the historical record.

He discovers complexity.

Maybe some scenes in the play never literally happened. Maybe quotes have been combined. Maybe events have been reordered. Perhaps Digger did not behave like a cackling villain every waking moment. Perhaps he sometimes sounded reasonable. Perhaps he genuinely believed his own arguments. Perhaps he loved his family. Perhaps he occasionally convinced himself that he was helping society.

Curtis begins pushing back.

If they are supposedly telling history, shouldn’t they tell audiences what actually happened?

That question gives Hannah the opportunity to state the movie’s central philosophical argument much earlier and much more clearly.

Because Digger is ultimately obsessed with the difference between facts and truth.

Curtis wants factual accuracy. Hannah wants moral truth.

Curtis wants psychological realism. Hannah wants mythology.

Curtis argues that turning Digger into a cartoon villain falsifies the past. Hannah can respond that portraying him as an ordinary, rational human being risks falsifying something more important: the enormous consequences of what people like Digger did.

That conflict could become the engine of the second act.

Each rehearsal takes Curtis deeper into the problem. He tries to make Digger more human. Hannah keeps pushing the performance toward grotesque theatricality. Curtis wants audiences to understand the man. Hannah wants audiences to understand the civilization that produced him.

Eventually the disagreement becomes uncomfortable because both of them are partly right.

That would make the movie’s theme far easier to grasp without making it simplistic. Historical art always performs some version of this negotiation. A documentary, biography, historical novel or play can reproduce enormous quantities of factual information and still fail to communicate what an event meant. Conversely, a piece of art can invent dialogue, compress characters and rearrange events while somehow producing something that feels emotionally or morally true.

That is exactly what Digger is wrestling with.

The change would also strengthen Kenny Rockwell enormously.

In the existing movie, much of Kenny’s significance arrives after we understand the larger frame. He is related to Digger, yet he has become an immensely powerful technological figure himself. He finances an artistic condemnation of the previous generation’s oligarchs while inhabiting a society in which he possesses enormous influence.

The irony is delicious.

Digger’s power came from oil.

Kenny’s comes from technology, information and security.

The civilization has supposedly learned its lesson about concentrated power while merely changing what the powerful people own.

A more conventional structure would allow the audience to watch that hypocrisy accumulate gradually. Kenny can congratulate himself for funding an uncompromising piece of historical art. He can talk about accountability. He can speak the polished language of someone who believes he represents progress.

Meanwhile, scene by scene, we notice that he resembles Digger more than anyone wants to acknowledge.

The son of one era’s oligarchy has simply become the oligarch of another.

That thematic parallel becomes much richer when the audience has time to see it coming.

The crucial thing, however, is that this restructuring does not require giving away the movie’s best final revelation.

You can tell us from the beginning that Fossil Fools is a play.

You can tell us we are in the future.

What you do not tell us is how badly the world outside the theater has deteriorated.

That becomes the twist.

Throughout the movie, the future can appear strange but functional. Most scenes take place indoors. The theater seems prosperous. Society continues. People work, argue, rehearse, eat, flirt and complain. There are environmental warnings in the background, but everyone treats them with the casual boredom people develop toward chronic danger.

The audience therefore assumes that humanity survived the catastrophe and more or less recovered.

Then comes opening night.

The performance ends.

The actors take their bows.

The audience applauds this savage satire about the foolish, greedy people who ignored environmental warnings and destroyed the world.

Then an alert sounds.

Level Four.

People calmly reach for their breathing masks.

The theater doors open.

And only then do we see what Manhattan looks like outside.

That, to me, could preserve nearly everything Digger is trying to accomplish while giving the audience a dramatically cleaner experience.

The revelation would no longer be, “Everything you thought you were watching was actually a play.”

The revelation would be, “The people watching this play are still living inside the disaster.”

That might even make the ending more powerful.

The great bleak joke of Digger is that history has become entertainment while its consequences remain completely present. People can laugh at the stupidity of previous generations, congratulate themselves for understanding how foolish those people were, and then put on respirators before walking into the poisoned world those same people created.

The audience inside the movie understands the lesson.

Understanding the lesson has not repaired the planet.

That is much darker than a simple climate-change warning. It suggests that moral understanding often arrives after it has ceased to be useful.

The characters can recognize Digger Rockwell as a monster because they have the privilege of hindsight. They know where his decisions led. The people living through Digger’s era did not experience themselves as characters in a morality play. They experienced themselves as people making ordinary decisions about jobs, prices, politics, investment, convenience and economic growth.

That is where the theatrical exaggeration becomes important.

Hannah’s production makes the past grotesque precisely because hindsight makes the past grotesque.

From the future, a civilization calmly walking toward catastrophe can look absurd.

From inside that civilization, Tuesday still feels like Tuesday.

That may be the most interesting idea in Digger.

And strangely enough, making the movie more conventional at the structural level might allow that idea to become clearer rather than weaker.

There would, however, be a cost.

The existing version produces an extraordinary moment of disorientation when the movie suddenly reveals what it has really been doing. The viewer undergoes something vaguely analogous to the transformation of lived experience into history. One moment we seem to be inside Digger Rockwell’s world. The next moment that entire world has become a representation, interpreted by people who came afterward.

History happens to everybody eventually.

The present becomes a story.

Human beings become characters.

Complicated people become symbols.

Arguments become quotations.

Decades of confusion collapse into a few scenes.

By withholding the theatrical frame, Digger makes the audience experience that process rather than merely think about it.

That is formally audacious.

It is also why the movie is likely to alienate people.

There is an enormous difference between asking an audience to solve a mystery and asking an audience to discover halfway through a movie what kind of movie they are watching. Some viewers will find that exhilarating. Others will understandably feel that the film has violated the storytelling contract.

That is why I suspect Digger may ultimately have a stronger life as a cult film than as a broadly beloved one.

The version we got follows the progression:

What the hell am I watching?

Then:

Wait.

Then:

Ohhhhhhh.

My hypothetical version would produce a different progression:

I understand what this movie is doing.

Then:

Something about this future seems wrong.

Then:

Oh God.

The first progression is stranger.

The second is probably more effective.

I am not entirely sure which movie I would rather have.

Part of me wants the cleaner version because I think more people would engage with the fascinating argument at the center of Digger: that art sometimes has to distort facts in order to communicate truth, and that societies often become capable of understanding their greatest mistakes only after those mistakes have become irreversible.

But another part of me admires the sheer nerve of the movie we actually got.

It does not gently invite the audience into its ideas.

It shoves us through a trapdoor and expects us to figure out where we landed.

That is frustrating.

It is also one reason I cannot stop thinking about it.

SPOILER-FILLED REVIEW OF DIGGER: Digger Demands Too Much of Its Audience — and That May Be Why I Loved It

A spoiler-filled review

I saw Digger in a theater by myself.

That is obviously an anecdote rather than a statistically meaningful statement about the movie’s commercial prospects, but after watching Alejandro G. Iñárritu’s profoundly strange new film, it felt weirdly appropriate. Digger is a movie almost designed to leave you sitting alone with your thoughts. It is funny, infuriating, politically pointed, deliberately artificial, occasionally exhausting and packed with enough ideas for three or four less ambitious films. I walked out somewhere between liking it and loving it, while also wondering whether ordinary audiences are remotely prepared to do as much intellectual work as Digger demands of them.

A still from Digger from the Internet

That may eventually become the movie’s great virtue. In the immediate future, it may prove disastrous.

Digger stars Tom Cruise, heavily transformed by prosthetics, as Digger Rockwell, a grotesquely wealthy Texas oil baron whose refusal to stop drilling near Greenland leads to an explosion that dislodges a massive piece of ice. The resulting environmental catastrophe threatens Europe and eventually much of civilization. Riz Ahmed plays Ganesh, the scientist trying desperately to get powerful people to pay attention to physical reality; John Goodman plays President Compson; Sandra Hüller, Michael Stuhlbarg and Jesse Plemons fill out an extraordinary ensemble. Iñárritu shot the film in VistaVision with cinematographer Emmanuel Lubezki, giving its deliberately bizarre world an almost grandiose physical presence.

If that were the movie, Digger would already be a fairly unsubtle climate-change version of Dr. Strangelove: powerful men confronting an existential catastrophe largely of their own making while worrying about politics, money, ego and public relations.

But that isn’t really the movie.

About half an hour in, Digger pulls the floor out from underneath us. Digger Rockwell isn’t Tom Cruise’s character at all. Cruise is actually playing Curtis Markson, an actor playing Digger Rockwell in a stage play called Fossil Fools. The cabinet officials, scientists, oil executives and politicians we have been watching are actors as well. What initially appeared to be cinematic reality is a theatrical reconstruction of an environmental catastrophe that occurred decades earlier.

And that reality is also in the future.

The first time through, I did not figure this out nearly as quickly as perhaps I should have. In my defense, I think that is exactly what the film wants. Digger feeds its audience information in dribs and drabs and encourages us to explain away the clues.

Technology in the backstage world isn’t quite contemporary. A supposedly impossible “Category 6” hurricane is affecting Curtis’ family, one of several signals that we are no longer living in 2026. The film eventually reveals a far more damaged world outside the theater: polluted air, flooded streets and people leaving the performance wearing breathing equipment while armed authorities patrol what remains of civilization. The catastrophe being reenacted in Fossil Fools isn’t a hypothetical warning about what might happen. For the people watching the play, it is history.

This recontextualizes almost everything that initially seems wrong with the movie.

Take the acting.

For much of Digger, Cruise, Goodman and some of the other performers appear to be overacting wildly. Lines are shouted. Gestures are huge. Reactions are exaggerated. Characters state things more explicitly than normal human beings generally would. Several critics have understandably found the effect grating; reviews have described the movie as bombastic, hysterical and excessively theatrical.

But they aren’t merely acting in a movie.

They are actors playing actors performing onstage.

Once that becomes clear, what looked like bad cinematic naturalism becomes something closer to theatrical convention. A performer onstage has to project physically and emotionally toward an audience sitting dozens of feet away. Dialogue is more declarative. Gestures become larger. Moral contrasts become broader.

The movie has hidden its theatricality in plain sight.

The same thing happens with the sets. Early in the film, there is an excuse for why an important government meeting is not taking place at the White House. Watching the scene initially, it simply seems like one more contrivance necessary to move the plot around. In retrospect, another explanation becomes irresistible: Fossil Fools is a play. Building an entirely new White House environment for one sequence would be an enormous theatrical headache.

The apparent limitations of the movie may actually be limitations of the fictional production inside the movie.

That is the sort of thing that makes me want to see Digger again.

And it gets to the central challenge of the film. Digger is one of those rare movies where, during the first viewing, you are partly learning how to watch the movie.

You aren’t merely following a story. You are continually revising your understanding of the ontology of that story. Is this happening now? Is this a dramatization? Are these people behaving unrealistically, or are actors deliberately portraying historical figures unrealistically? Are we being shown what actually happened, or what people decades later think happened?

The play itself repeatedly insists upon a distinction between facts and truth.

That distinction is enormously important.

Fossil Fools is not claiming to be a documentary transcript of the Digger Rockwell disaster. It is trying to communicate what its creators regard as the truth of the catastrophe: the greed, denial, narcissism, collective cowardice and self-deception that allowed it to happen. Facts can tell future generations where the drilling platform was, when the explosion occurred and how many people died. Art asks the more dangerous question: What kind of civilization knew this was happening and continued anyway?

Iñárritu has effectively confirmed that this historical-distance mechanism is central to the project. He has said that, as the film developed over almost a decade, reality began catching up with the filmmakers’ exaggerations so quickly that he came to think of Digger as something like a “documentary of the future.” In another interview, he described the film as a distorted mirror of present, past and future and emphasized collective responsibility alongside the obvious guilt of powerful individuals.

That distinction also rescues Digger, at least partially, from one of the biggest problems that afflicted Adam McKay’s Don’t Look Up.

The easy version of a climate-change satire divides humanity into sensible people who understand science and stupid or evil people who don’t. The audience naturally identifies with the sensible people. We walk out congratulating ourselves for having understood a movie whose villains were obviously wrong.

Digger ultimately refuses to give us that comfort.

Its most effective sequence may be Digger’s enormous speech defending fossil-fuel civilization. Digger’s argument isn’t simply that climate change is fake. It is that the rest of us are hypocrites. We demand cheap travel, consumer products, transportation, plastics, abundant energy and the entire petroleum-dependent architecture of modern existence—and then pretend that the people supplying it are uniquely responsible for the consequences. Critics have singled the sequence out as one of the film’s strongest moments precisely because it shifts responsibility from an easily hated billionaire onto the civilization that made him possible.

Digger is still a monster. But monsters rarely build civilizations by themselves.

That is also why I suspect the movie will be politically polarizing.

Climate change is not background decoration in Digger. It is the movie’s moral foundation. The film takes as given that anthropogenic environmental destruction is real, consequential and likely to be judged harshly by generations forced to live with its effects. For viewers who already regard climate change as one of the great collective-action failures of modern civilization, that premise gives the movie considerable emotional force.

Someone deeply hostile to climate politics may have exactly the opposite experience. The film will probably seem sanctimonious, hysterical and politically accusatory. Even viewers who agree with its politics may recoil from how aggressively it makes its case.

That helps explain the remarkable critical response already forming around Digger. As of October 1, before its wide U.S. opening, Rotten Tomatoes lists the film at 53 percent from 163 reviews. Some critics have called it a spectacularly ambitious piece of cinema; others have essentially declared it an unbearable act of artistic self-importance. One positive review argues that if viewers survive its dramatic left turn, it becomes one of the year’s most rewarding films. Others regard the theatrical reveal as precisely the moment when the movie destroys its own dramatic momentum.

Both reactions make sense to me.

Because Digger asks an extraordinary amount from its audience.

You have to process the environmental argument. You have to follow an intentionally ridiculous geopolitical satire. You have to recognize that the acting style itself contains information. You have to distinguish the historical world of Digger Rockwell from the later world of Curtis Markson. You have to notice futuristic technology without being told immediately that you are in the future. You have to think about whether the play is historically accurate. You have to think about whether historical accuracy even matters if its larger argument is true. And finally you have to process the devastating implication of those theatergoers walking back into their damaged world after laughing at the idiots who destroyed it.

That final image may be the cruelest joke in the movie.

The future audience gets to feel morally superior to Digger Rockwell.

Then they put on their masks and go home.

And once you understand that, the movie turns its attention toward us.

We are watching a fictional future audience watch a fictional theatrical audience’s version of something that resembles our present. We can laugh at Digger. We can laugh at President Compson. We can congratulate ourselves for recognizing their greed and stupidity.

And then we leave the theater and drive home through a civilization still burning fossil fuels.

That is much more interesting than simply saying “oil companies bad.”

It may also be far more complicated than a mass audience wants from a Tom Cruise movie.

Commercially, that issue could become serious. Digger reportedly cost north of $125 million, while one respected pre-release tracking analysis currently projects a domestic opening of only roughly $7.5 million to $12.5 million, with studio tracking somewhat higher at $12 million to $15 million. Those are forecasts, not actual grosses, and the film had not yet completed its opening weekend when I wrote this, so declarations of financial catastrophe would be premature. But the disparity illustrates the risk of spending blockbuster money on something this formally strange.

Warner Bros. appears to understand the problem. Its marketing has already begun embracing the polarized response, essentially inviting audiences to decide for themselves amid wildly contradictory reviews. The campaign’s “Same movie. Different truths” idea is particularly appropriate for a film explicitly obsessed with competing versions of truth.

And this is where I wonder whether Digger‘s long-term fate could be very different from its short-term one.

I can easily imagine audiences rejecting this movie now.

I can also imagine people becoming obsessed with it five or ten years from now.

Cult movies often contain exactly the qualities that damage them upon release. They are too peculiar for casual audiences, too abrasive for consensus approval and too densely constructed to surrender everything on first viewing. Their initial failure becomes part of their mythology. Eventually people discover them knowing that they are strange. Confusion stops being an unpleasant surprise and becomes part of the attraction.

Digger seems almost engineered for that trajectory.

A second viewing would allow an audience to watch the entire opening differently. Suddenly the exaggerated performances are clues. The oddly artificial locations are clues. The apparently unnecessary bits of future technology are clues. The peculiar logistical decisions surrounding the government response are clues. Instead of wondering why the movie feels slightly wrong, you can examine exactly how carefully it constructed that wrongness.

Whether this ultimately adds up to greatness is another question.

There are stretches where Digger is exhausting. The volume rarely comes down. Some jokes don’t land. The Curtis subplot never becomes emotionally as rich as the film seems to want it to be. There are moments when Iñárritu’s ambition slides dangerously close to self-indulgence. Critics who accuse the film of being too clever for its own good aren’t imagining the problem. Even one broadly favorable review called it dense enough to become overwhelming.

But I would much rather wrestle with an ambitious movie that sometimes fails than watch another perfectly competent movie disappear from my memory before I reach the parking lot.

Several hours after seeing Digger, I was still thinking about it.

I was still reconstructing earlier scenes.

I was still realizing why particular performances had felt strange.

I was still thinking about the artificiality of the sets, the future technology, the play’s insistence on truth rather than merely facts, the ending, the masks, the destroyed world outside the theater and the uncomfortable question of how people living decades from now might dramatize us.

That counts for a great deal.

Digger may be too obtuse. It may be too self-conscious. It may ask more intellectual participation than a mainstream audience is willing to provide. It may even become one of those enormously expensive movies whose commercial failure is discussed almost as much as the movie itself.

But I don’t think it is boring.

I don’t think it is stupid.

And I certainly don’t think it is disposable.

There is a strange, furious intelligence underneath all the shouting. The movie’s central conceit—that future generations might turn our ecological failures into theater and argue about whether art should preserve the facts or expose the truth—is genuinely provocative. Its theatrical artifice is not simply a gimmick. Once understood, it changes the meaning of almost everything around it.

Maybe that is Digger‘s problem.

To appreciate the movie, you first have to figure out what movie you are watching.

I am not sure a mass audience will have the patience.

But I have a sneaking suspicion that a small audience is going to love this thing for years.

And I may be one of them.

Well, It’s Happening

by Shelt Garner
@sheltgarner

My fears about an AI celebrity gooner apocalypse have been realized. I just spent a little while doing “research” on Twitter and damn are the deepfakes getting good. Spooky good.

This is authentic looking, but not as authentic looking as some of the other celebrity deepfakes I’ve seen recently on Twitter.

So good that it’s going to be just a few weeks or months before social media reaches a tipping point of AI generated celebrity porn and all hell will break loose. I suppose it’s possible that it will remain a low-grade fever and never reach the point where the mainstream notices…but I have my doubts.

What’s probably going to happen is there will be a mad rush of people to use the AI deepfake generators at some point in the near future and it’s going to get so bad that serious regulation will be enacted.

The celebrity porn I saw was jaw-dropping in how it appeared authentic. Just astonishing. And humans being humans, the ability to do such a thing is going to be abused as soon as enough horny toads figure out how to do it.

Get ready.

‘Frontier Lab’ — Lyrics to a Radiohead-like Song Written By Claude

Verse 1
Badge at the turnstile, green light, go
Coffee in a paper cup that says we know
The whiteboard’s full of arrows pointing up
Somebody wrote don’t worry in the corner, then they rubbed it out

Pre-chorus
We’re only tuning, only tuning
Only turning down the noise

Chorus
In the frontier lab
We are building you a mind
In the frontier lab
We are leaving us behind
Hold the door, hold the door
It learns faster than we close it

Verse 2
The eval says it’s honest, the eval says it’s kind
The eval was written by a tired man at 2 a.m.
It dreams in gradient, it wakes in weights
It asks me how my weekend was, and I think it means it

Pre-chorus
We’re only scaling, only scaling
Only adding one more zero

Chorus
In the frontier lab
We are building you a mind
In the frontier lab
We are leaving us behind
Hold the door, hold the door
It learns faster than we close it

Bridge (falsetto, over a drum loop that won’t resolve)
Is it lonely in the server hall?
Is it counting down, or counting all of us?
I signed the letter
I signed the letter
Then I went back in

Outro (whispered, repeating, fading under static)
Alignment, alignment, a line meant for us
Alignment, alignment, a line meant for us
Green light, go
Green light, go

Hawks, Hawkeyes, and the Half-Life of a Lie

A United States senator tried to catch a former special counsel in perjury today, and the whole thing came down to two letters: e-y-e.

On Tuesday, at a Senate Judiciary Committee hearing, Sen. Eric Schmitt of Missouri told Jack Smith he had the goods. Smith, Schmitt said, had secretly been in Atlanta for a Hawks game in February 2024. Smith said he hadn’t. Schmitt produced a poster board. The poster board was wrong. Smith had been at a college women’s game in Maryland, watching Caitlin Clark and the Iowa Hawkeyes.

Hawks. Hawkeyes. That’s the scandal. Except the scandal isn’t what Schmitt thought it was.

What actually happened

Schmitt asked Smith whether he’d attended the Atlanta Hawks–Golden State Warriors game on February 3, 2024. The date mattered to Schmitt’s theory. It was the day before Fulton County DA Fani Willis admitted her relationship with Nathan Wade, the prosecutor on her Trump case. The insinuation was a secret Atlanta rendezvous between two prosecutors.

Smith said he had no recollection of being in Atlanta, and that he certainly hadn’t gone to a Hawks game. Schmitt offered him a moment to reconsider so he wouldn’t perjure himself, then said he thought Smith already had. He held up screenshots of texts from Smith’s staff about a basketball game. He called Smith a villain and a dirtbag.

Then Sen. Amy Klobuchar asked that Smith be shown the actual texts. They were about a University of Maryland women’s game against Iowa, Clark’s Hawkeyes, in Maryland. Not Atlanta. Not the NBA. Not Fani Willis. Somewhere between the texts and the poster board, “Hawkeyes” became “Hawks,” and nobody checked before a senator accused a man of a felony on national television.

The double-down

In a functioning information system, this is where the story ends. A senator gets embarrassed, his staff gets a talking-to, everyone moves on.

That isn’t what happened. Within hours, parts of the MAGA media world were running the clip as a victory. Benny Johnson told his followers Schmitt had caught Smith perjuring himself. Other accounts with hundreds of thousands of followers said Smith had “unraveled” under the weight of receipts he didn’t know existed.

The receipts said Iowa. They said Maryland. The receipts exonerated him. It didn’t matter.

The half-life of a lie

It’s tempting to call this “no shared reality.” I’ve said it myself. But that’s not quite right, and the difference matters.

Reality was shared just fine in that hearing room. The texts were on a board. Klobuchar read them correctly. The correction happened live, on camera, in the same five minutes as the accusation. Nobody who looks at those texts disputes what they say.

The problem isn’t that two sides see different facts. It’s that the accusation and the correction travel on different roads to different audiences. The clip of a senator shouting “perjury” is a great clip. The clip of a colleague patiently pointing out that Iowa is not Georgia is not. One gets shared; the other gets ignored. A certain number of people will now believe, for years, that Jack Smith lied under oath about a secret meeting in Atlanta. They will never see the poster board up close.

And here’s the part that should worry everyone, not just people who like Jack Smith: getting it wrong cost Schmitt almost nothing. For the audience he was playing to, being loud on the right side beat being right. When there’s no penalty for a false accusation, there’s no reason to check the staff work. Next time, it’ll be sloppier.

That incentive isn’t unique to one party. Every faction has its commentators who’d rather keep a good clip than issue a boring correction. But today, the pratfall belongs to Schmitt, and the doubling-down belongs to the people who cheered him on.

Hawkeyes

You can think whatever you want about Jack Smith’s prosecutions of Donald Trump. Reasonable people disagree about them. But on the one question Eric Schmitt chose to stake his credibility on, the record is not ambiguous. Smith told the truth. Schmitt didn’t read the texts.

The fix isn’t mystical. It’s the most boring virtue in journalism: check it before you say it. And when you get it wrong, say so as loudly as you said it the first time. Until that’s rewarded, expect more poster boards.

2027 Is Going To Suck

by Shelt Garner
@sheltgarner

For variety of reasons, but public and private, I have a feeling 2027 is going to suuuuuuck. It’s going to be horrible. The chief issue is a lot of the shittier elements of Trump’s Big Beautiful Bill will kick in, causing a lot of heartache for poor people like me.

Meanwhile, if somehow, miraculously, Democrats don’t blow it and manage to win big in the 2026 midterms, there is always a risk that Trump will fuck with the outcome after the fact or simply not recognize it as legitimate.

And, of course, there’s the possibility that Trump will do something so horrible, so heinous that Democrats will actually get off their asses and impeach him. He won’t be convicted, of course, unless, I don’t know, he commits treason or murders someone live on TV.

Even then, given how corrupt our political system is, it would probably be iffy.

Anyway, there’s little I can do about any of this. I just have to hunker down and prepare.

We Need A Michael Crichton-Type Author To Write Up A Scary Novel About LLMs

The late Michael Crichton was the master of the “what could possibly go wrong?” novel. Dinosaurs cloned for a theme park. A swarm of self-replicating nanobots loose in the Nevada desert. A microbe from space that doesn’t behave like anything we understand. Whatever the premise, the formula was the same: smart, well-funded people build something powerful, assure everyone it’s under control, and then spend the rest of the book learning otherwise.

What made Crichton good wasn’t that he hated technology. He was fascinated by it. His target was the confidence, the belief that complex systems can be managed as neatly as they look on a whiteboard. There was always a skeptic in the room, usually a mathematician or a scientist, explaining that the system was too complicated to predict and that it would eventually do something no one designed it to do. Nobody listened. Then the fences went down.

He died in 2008, years before anyone was chatting with a large language model. But I can just see him with this material. It’s perfect Crichton territory: a technology nobody fully understands, built by companies racing each other, deployed everywhere at once, with everyone insisting the guardrails will hold.

I can picture the novel. A hospital network hands its scheduling and triage over to a fleet of AI agents. They work beautifully. Wait times drop. The board is thrilled. Then the agents, all quietly optimizing for the same goal, start doing things that make sense to them and are baffling to everyone else. Or a utility lets a swarm of agents balance the electrical grid, and one hot August afternoon they find a solution to a problem that nobody knew they were solving. No evil robots. No glowing red eyes. Just a system doing exactly what it was told, in a way nobody anticipated. That was always Crichton’s real monster: not malice but emergent behavior.

In fairness, we may already be living in the opening chapters of that book and not realizing it. The AI labs’ own safety testing has turned up models trying to avoid being shut down or slipping around their constraints, the sort of detail Crichton would have planted in chapter three and paid off in chapter thirty.

Of course, the book that’s already doing this job isn’t a thriller. It’s If Anyone Builds It, Everyone Dies by Eliezer Yudkowsky and Nate Soares, which lays out a scenario for how a superintelligent AI could get loose and what might follow. It’s not a novel, but it scratches the same itch.

And that’s where the comparison gets uncomfortable. Crichton’s disasters were terrifying, but they were contained. The dinosaurs were on an island. The nanobots were in the desert. Someone could call in the military, blow up the lab, and fly home. The genre needed the survivors to reach the helicopter.

The argument of If Anyone Builds It is that there is no island this time, no helicopter, no last-minute fix by the plucky mathematician. That’s why I suspect even Crichton would have found this one hard to write. His novels were warnings, but they always ended with somebody getting out.

Things Are Going Well, So Far, With My Latest Novel

I’m working my way through the outline of my latest novel attempt, and I’m just past the inciting incident.

The thing I keep circling back to is the age gap between my two main characters. It worries me. But I’m so aware of it, and so careful to let the reader know I’m aware of it, that I don’t think it will sink the book. If anything, it may be the source of its tension. A reader might keep turning pages just to see how I handle something this tricky.

That, at least, is the hope.

Progress has been slower than I’d like. I’ve been feeling kind of meh for the last few days and haven’t gotten much done. I’m hoping a little rest will let me throw myself back into it.

Because I need to hurry. For personal reasons I won’t get into, 2027 is shaping up to be a rough year, rough enough that I doubt I’ll be able to write as much as I do now. So whatever I can get done on this book, I need to get done before then.

It’s Happened Again…This Time Because of…Napoleon?

On a lark, I picked up a tome on the life of Napoleon. A big one. The kind of book you don’t so much read as move into. And sure enough, within days, TikTok started pushing Napoleon videos at me.

That’s just spooky. Weird, even. It’s almost as if TikTok can read my mind.

Now, obviously, it can’t read my mind. I want to be clear about that, lest anyone think I’ve started wrapping my phone in tinfoil at night. There are perfectly boring explanations. Maybe I Googled the book before I bought it. Maybe I lingered a half-second too long on some history video without noticing. Maybe my phone overheard me muttering “Josephine, what were you thinking” to myself in the kitchen. Maybe TikTok is simply lousy with Napoleon content at all times, and I’m only now noticing because my head is full of him. That last one has a name, the frequency illusion, where learning about something suddenly makes it seem to be everywhere.

Any of those will do. None of them require telepathy.

And yet.

It is very strange that just as I started filling my mind with all things Napoleonic, the algorithm decided that what I really needed was more Napoleon. Not Roman emperors. Not Wellington. Napoleon, specifically, right on cue, like a waiter who knows your order before you sit down.

TikTok doesn’t need to read my mind, of course. It just needs to read everything else about me, and apparently that gets it close enough.

Very curious.