Three from The New York Times, June 22, 2026.
Robert J. Shiller, We Have to Stop Freaking Out About A.I.
Like many others, I believe A.I. could lower employment. But unlike most, I don’t necessarily blame the technology itself. Instead, I worry about the potency of the fear it is generating.
Our brains are wired to respond to stories. Narratives floating in a population can affect individuals’ economic decisions about whether to buy a big house, or whether to send their kids to an expensive private school or even whether to have kids at all. When millions of people make millions and millions of decisions based upon negative expectations, there is a risk that fear can actually help birth the reality.
The idea that something like artificial intelligence will replace many human jobs goes back thousands of years. Aristotle envisioned a powered loom and a self-playing lyre someday replacing human servants. In the 19th century, groups of textile workers (the Luddites) destroyed the new machines they believed were replacing them. In the 1920s, the play “R.U.R.” — the letters stand for “Rossum’s Universal Robots” — depicted a war of the robots against humans. [...]
...the British mathematician I.J. Good wrote an essay that imagined a new technology that could continue improving itself until its abilities would surpass those of humans. The idea, which came to be known as the “singularity,” would quietly circulate until 2005. That’s when the futurist Ray Kurzweil wrote “The Singularity Is Near,” a book arguing that human-level A.I. would arrive by 2029. Either we would merge with machines and transcend our biological limits, or the machine would grow so powerful it could end all of humanity.
The theory captured the imaginations of tech titans, and even the top A.I. researchers and executives, who warned of a range of alarming scenarios, from job losses to widening inequality or even the eradication of humanity itself. While the job market has slowed for a host of reasons, there are reports that fear of an A.I. apocalypse is worsening the freeze and contributing to record lows in consumer sentiment.
There’s only so much Washington can do about these narratives. And, suffice to say, Donald Trump is no Franklin Roosevelt.
As such, perhaps the best we can do is to appeal directly to the leaders of Silicon Valley who have been promoting these negative narratives with such vigor. Surely the resulting media attention highlighting how dangerously powerful your A.I. model is may help you sell more wares, but it may be far harder to do so in a period of recession. Try not to forget the critical lessons taught by our past.
Ross Wiener, I Thought ‘No Child Left Behind’ Would Fix Public Schools. I Was Wrong.
The new data is emboldening calls to restore something like the No Child Left Behind Act, the stringent, test-based accountability policy that defined American education from 2002 to 2015 and imposed penalties on schools whose students did not meet proficiency requirements on state standardized tests. The Atlantic captured that impulse in a 2025 podcast episode titled “Bring Back High-Stakes School Testing.” In it, Margaret Spellings, a secretary of education under President George W. Bush and now president of the Bipartisan Policy Center, argues we need to restore “the muscle of accountability, the muscle of assessment.” Rahm Emanuel, exploring a 2028 presidential run, said in April that Democrats have abandoned standards and accountability and must return to them.
It was a mistake in the past to treat test scores as the purpose of public schools rather than as partial proxies for what a good education actually delivers. Reading and math are profoundly important and improving instruction must be part of any serious agenda. But test-based accountability policies were not sufficient decades ago. They are even less adequate now. [...]
Over time, I became convinced that, with the best of intentions, I and many others in the education reform community had transferred our moral commitment to children over to the standardized tests. We had done this earnestly, not cynically, but we still did damage.
In 2023, 40 percent of high school students reported persistent feelings of sadness or hopelessness. One in five had seriously considered suicide; nearly one in 10 had attempted it. Research from the SNF Agora Institute at Johns Hopkins found that 40 percent of Gen Z believes political violence can be justified, compared with 11 percent of baby boomers. Too many students experience school as an obligation with few opportunities for agency or meaning; recent survey data indicates that large shares of students find school boring and irrelevant and are struggling with engagement in the classroom. The academic crisis and the human crisis are not entirely separate phenomena. [...]
Taking their priorities seriously would mean broadening what we expect from the classroom. Schools should put what students can do on equal footing with what they know, embedding real skills in academic learning rather than leaving them to chance or sequencing them to later in life. Schools should reconnect with the communities they serve, so young people learn through and about the places where they live. And they should reanimate the character-forming, developmental mission a pluralistic democracy requires.
Tom Rothman, Hollywood Needs Regular Jolts of Creativity. It Just Got One.
In the last month, “Backrooms,” a horror movie directed by Kane Parsons, a YouTube creator who just turned 21, opened to an astounding $81.5 million in America. A second horror film, “Iron Lung,” made and self-distributed by Mark Fischbach, another online creator, has grossed over $50 million worldwide. Perhaps most significant of all, “Obsession,” a horror film directed by Curry Barker, a 26-year-old YouTube creator, crossed $200 million at the box office this weekend and surpassed the latest “Star Wars” film.
“Backrooms,” “Iron Lung” and “Obsession” each has its own unique origin story. But what they have in common is that they’re all fueled by an avid young audience — exactly the demographic that gloomy industry pundits have repeatedly declared will never return to movie theaters.
Wrong.
Is this YouTube-fueled youthquake simply a coincidental confluence of events? Or does it portend an upending of the Hollywood status quo? Actually, it’s a bit of both. Indeed, for any fear of YouTube barbarians at the gates, this is instead a great opportunity for traditional Hollywood. [...]
Rothman then goes on the list changes in taste following Altman's M*A*S*H in 1970 and Soderberg's Sex, Lies, and Videotape in 1989.
Needless to say, there's more at the links.This kind of moment is happening again. Mr. Barker, with a background in short films and YouTube sketch comedy, tells a story in “Obsession” that is so powerfully relatable to Gen Z audiences that the word of mouth has caused the box office to defy gravity.
When Mr. Parsons expanded his YouTube short films into the feature-length “Backrooms,” the aesthetic he’d honed as a teenager on the internet captured an underlying anxiety in his audience, with whom he’d already developed a direct relationship online. These filmmakers are very young, but what matters is not chronological age so much as an iconoclastic spirit, an instinct for what the audience is wanting but not getting and, of course, talent. [...]
“Backrooms” and “Obsession” are also the beneficiaries of expensive and savvy studio marketing campaigns. Reminiscent of how the New Hollywood directors made a lot of money for the old studios in the ’70s — think Francis Ford Coppola and “The Godfather” — and how the indie darlings of the ’90s did the same, these YouTube-born phenomena have ultimately prospered handsomely inside the system.
For perfect symmetry, note that the No. 1 film at the box office when it debuted two weekends ago, one spot ahead of “Obsession,” was “Disclosure Day,” made by Steven Spielberg, the greatest artistic and commercial director in history. “Disclosure Day” is his 37th film. His first was the ’70s New Hollywood anti-authoritarian film “The Sugarland Express,” which he made when he was not much older than Mr. Barker and Mr. Parsons.
The integration of independent creativity with industry influence is a good thing all around. It offers exposure for, and help to, new voices, giving them more visibility and opportunity, and it promotes the kind of originality that Hollywood desperately needs.
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