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Compact published a quite thorough analysis of the discrimination millennial white men have faced since the mid-2010s, focusing on the liberal arts and cultural sectors. It does a good job of illustrating the similar dynamics at play in fields including journalism, screenwriting, and academia, interviewing a number of men who found their careers either dead on arrival or stagnating due to their race and gender. It's a bit long, but quite normie-friendly, with plenty of stats to back up the personal anecdotes. It also does a good job of illustrating the generational dynamics at play, where older white men pulled the ladder up behind them, either for ideological reasons or as a defense mechanism to protect their own positions.
A great quote from near the end of the piece that sums it up:
Edit: typo
I have trouble sympathizing with any of this. An institution's prestige comes from the people that compose it. If you're competent, the institution doesn't grant you prestige, it leeches off you to obtain prestige. If you're useless, it is the institution that grants you prestige (at the expense of its own reputation).
Take James Watson. He recently had all his stickers revoked by the "status-granting institutions" he was a member of for being a bad man and saying mean things. Guess what? I cannot name a single one of those institutions off the top of my head. But you know what name I do remember? James Watson.
The way you respond to an institution not accepting you or granting you status is just to go succeed anyway. Then the institution will suffer the reputational damage of looking like a clown for rejecting you. What you definitely should not do is fail at life and then cry publicly that the institution rejected you, because that vindicates their rejection! You are literally granting status to the institution by telling everyone they correctly rejected a failure! If you fail, at least be quiet about it, so the institution doesn't get the status boost.
This is especially accented when you consider how many successful people abandon status-granting institutions of their own will. Mark Zuckerberg was at Harvard, and apparently thought it was a waste of time, so he left. This makes Harvard suffer reputational damage (though I suppose they get credit for accepting him in the first place. But still, it's at least nominally supposed to be a school, which, ya know, is supposed to be telling you the Secrets of the Universe you need to succeed. If you just leave and succeed anyway, obviously none of those secrets were necessary). Steve Jobs and Bill Gates were also dropouts.
"Oh, well you're just choosing S-tier examples," you retort. "For regular humans, the world doesn't work like this." Ah, but check this out:
So no, it's not just S-tier exceptions. Competent people do not need institutional blessing. Only the incompetent do.
This even plays out in the finances of institutions. If you're smart, you get scholarships to attend university--they pay you to go there! Why would someone pay you to teach you the secrets of the universe? Well, they're not. They anticipate you're going to be successful anyway, and so they pay you a bribe to waste some time with them so they can act like they took some part in it. For all the people that they don't anticipate will be successful, they charge tuition. This reputational laundering is, quite literally, the business model.
It should be dead obvious that being supported by the institutions of your field is better than being opposed by them. Yes, there are some people who succeed outside, but it's a much harder road they have to be that much better. And of course others fail with such opposition where they would have succeeded with support or just neutral treatment.
An interesting find, but the upshot of the article is "We should get rid of the GRE because men have an advantage in quantitative scores but no advantage in actually getting degrees". (Which I suspect is because of discrimination against them in the grad programs.) It's a call for even more enshittification of academia, and in an engineering publication no less.
ETA: He actually addresses this argument in an interview about an earlier article about white writers:
I don´t mean to be overly hyperbolic, of course. But even back in Ye Olden Days, yeah, great writers were often persecuted. John Locke fled England on fear of his life. John Bunyan wrote much of Pilgrim's Progress from prison.
Today, with the advent of the internet, it's much easier. Fuentes had his bank accounts and credit cards locked, was put on a no-fly list, and booted from every major social media platform. Has that stopped him?
Or take all the AAA video game producers that have been ideologically captured. So what? Just make your own studio! Clair Obscur just won game of the year! And the runners up were like... Hollow Knight: Silksong (produced by a grand total of 3 people, if my knowledge serves me right) and Hades 2. You really can just Do Things, and out-play people with orders of magnitude more institutional privilege.
Anyway, the other thing I wanted to highlight with my post is that complaining about institutional capture is a really bad battle tactic. I won't contend that fighting to retake institutions is a bad idea (though it's not the sort of thing that inspires anything in me personally). It's probably a good idea. But complaining that you don't like the status-granting institutions lends them more status, because it looks like they correctly kept all the losers out. For anyone seeking to go on their own Long March to retake the institutions, you need a more compelling battle cry than "No, no, you can't refuse to accept me, my test scores were good!" I propose something akin to Harry Potter's line when he retook Hogwarts: "How dare you stand where he stood!"
Like the double edged sword of the Internet more broadly --- the crushing dichotomy of endless slop and almost the complete collective knowledge of mankind at your fingertips --- the tools are there for you and a couple friends to go produce, say, movies with effects that surpass Kubrick's with a much larger budget. Blender is free (and Academy Award winning!). Camera equipment is smaller and lighter and cheaper. LED lighting can run on batteries.
And yet, nobody that I've found is producing well-written, compelling movies on shoestring budgets that actually get eyes, while Netflix keeps churning out heaps of slop with the odd gem tossed in (KPop Demon Hunters was enjoyable). I'm really not sure what to make of it: maybe there is a stochastic element of movie magic that requires the stars to align for a good product and lots projects to produce a hit, or maybe it takes the collective will to power and collective experience of something like the Hollywood juggernauts to push to finish projects well. Or maybe it's happening, but not in genres I follow: are we in a low-budget horror Renaissance? Or it's a change in dynamic to creators of short-form videos?
And the same is true of other mainstream media. I suppose there are a few breakout hits on Substack or various podcasts, so maybe it's happening and we're just not noticing.
Movies in particular, no, but there's an enormous amount of quality video content produced on shoestring budgets on YouTube. NileRed, 3Blue1Brown, Adam Ragusea, Practical Engineering etc.. It's not just a handful of people: there are many channels on a myriad of topics, produced by people who as far as I can tell have no major studio backing. It's just regular people with cameras, doing stuff they find interesting and showing other people.
I'd wager this "industry" already dwarfs legacy producers of similar content.
I don't think there's anything stopping people from producing movies, the will just isn't there for whatever reason. But It's been done before: The Blair Witch Project was a successful low-budget film, and it managed to achieve fame even without the help of internet video distribution!
As for writing, there's SlateStarCodex, which was just a guy who decided to make a website to publish his writings. It was pretty big once upon a time, so I hear. He wrote a book, too!
The Blair Witch Project is a special case because being low budget is inherently part of the story, which alleviates most of the problems caused by having to be low budget. This doesn't generalize.
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