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Our news industry is broken. Instead of optimizing for truth, it optimizes for outrage. And it's no one in particular's fault! It's the nature of the game itself. A classic Moloch trap. I explore this in my new film "The Media Wars" now available on Twitter in full: 👇

1,252,298 次观看 • 3 年前 •via X (Twitter)

10 条评论

Elon Musk 的头像
Elon Musk3 年前

Cool!

𝕏 paranoidream 𝕏 的头像
𝕏 paranoidream 𝕏3 年前

“don’t hate the players, change the game” 👏

🇺🇸 Robert Spudis 🇺🇸 的头像
🇺🇸 Robert Spudis 🇺🇸3 年前

That was one of the best videos I have seen in a long time! Great job on it. We have too many throwing away reason and logic because it requires work. Emotion is so much easier. A double-minded man is unstable in all his ways! Control yourself. Think things through. Tap into reality.

Brandon Stone 的头像
Brandon Stone3 年前

@IgorKurganov

Edward Riffle 的头像
Edward Riffle3 年前

I just canceled cable. Some of that money will be used to support content creators on other platforms. What took me so long?

Scott Graham 的头像
Scott Graham3 年前

Defeating Moloch requires regulation by the collective. But journalism is speech. This has frightening potential implications for freedom of speech.

ALEX 的头像
ALEX3 年前

Seems to me third-party advertising dollars is the main problem. If news providers got the lion's share of their revenue from news consumers, Mo Loch would be out of a job.

Diana Henry 的头像
Diana Henry3 年前

Great video. Trying to change people’s perceptions after incessant media brainwashing is next to impossible.

Ray 的头像
Ray3 年前

Perception gap. Gotta check that out.

Akash 的头像
Akash3 年前

Cool!

相关视频

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 次观看 • 1 年前