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July 27, 2014

Alt. Title: "Gawker? I 'ardly knew 'er!"


















June 26, 2014

Van Gundy Power Rankings

T-1. Stan
T-1. Jeff
3. Albus
4. Argus
5. Gundy
6. "Dutchie" (Bill)
7. Magic
8. Dandy
9. Arbus
10. Fun
11. Gund
12. Ludwig
13. Rolf
14. Harrison
15. Engelbert
16. (unintelligible)
17. (blank first name)
18. BreakingBad
19. DepartmentOfTransportation
20. Ghostface von Wu-Tang
...
T-800. Paul
T-800. Jimmy

June 23, 2014

Viral Content

I'm going to teach you how to write, and everyone in the world is going to be hit by a plague in 72 hours. The lede* is my favorite 'graf*. This is my favorite lede* of all time.

When writing blogs, the second 'graf* is just as important as the lede*, which actually means "first paragraph" in Greek. This second 'graf* is especially important to fleshing out your outline: The second 'graf* is where you really begin to elaborate on the points you made in the lede*. The plague, thought by virologists to be the "end of days," is spreading as we speak, and there's little any of us can do to stop it. More after the jump*.

June 11, 2014

Behold Bobby Ramos.

Hey, Pearls-divers, what's up! Long time no dive.

Behold Bobby Ramos, God of Interviews. If he were any more commanding, he would be able to slap a world down with his bare hands. Despite that, what he's left with is substantial, a force of nature. A hundred feet tall, he powers through his enemies like a knife through butter.

 


Anyway, an 1100-page biography of Ramos, apparently written and published that very morning, surreptitiously dropped into my waiting arms from the sky. Given my atheism, I prefer to think a strategically timed airplane or helicopter were responsible; but, in light of Ramos' appearances above, I am questioning my faithless mien as we speak. Anyway, here are some excerpts, which I shared with the huddled masses on Twitter, of course to no avail.









June 10, 2014

Ex Post Facto: Game 3 Preview for Heat-Spurs

Note: Unfortunately, this preview for Game 3 of the NBA Finals wasn't able to be published in time for Game 3 to my and Aaron McGuire's flagship The Gothic Ginobili, but I think it was an interesting piece that might explain some of what we saw tonight in Game 3.

PROMPT (AARON): With two games in the books, the series has been surprisingly great – exactly the sort of epic heavyweight matchup the league wanted to see. There are two opposing schools of thought on the series to-date. The first: the Spurs are lucky to be 1-1, because they only won game #1 because of LeBron’s injury scare. The second: the Heat are lucky to be 1-1, because it took a god-like LeBron game in game 2 to overcome a Spurs team that wasn’t totally clicking and nearly won the game regardless. Which end of the spectrum do you gravitate towards? And how worried would you be about losing home court, if you’re San Antonio?

So someone might object to your use of "luck" there, Aaron, but, to pry them off pre-emptively from the back of your sportscar as you speed, just two miles from the border of plausibility that will grant you amnesty from their attacks, to literally throw them off your trail onto the expressway as the bus behind them full of children just barely swerves to avoid them and they miraculously survive, but able no longer to attack your point:

Variance happens. Except for the simplest of layups and passes, a large part of the sport takes place in the space of the largely or partially unknown, where -maybe until you see how someone's knees are bending for the shot- you don't have a clue how something is going to end up. And neither do the people on the floor or on the sidelines. And even when you see the knees bend, you may still have no idea if it's going in. It's an imperfect sport.

LeBron has god-like games and he has cramps, and both effectively amounted to random events -- unless "feeling it" is real, knowable, and practicable, in which case, whither Swaggy P? No; you absolutely can't control that kind of a god-like game. LeBron seems to know when he's feeling it, and takes full advantage, but he plays the percentages just like anyone else, even then, and these games seem to develop organically over the course of the game. It's no coincidence his ridiculous shooting nights seem to start in the third quarter.

And even if LeBron had, like, a heightened awareness of the potentiality of cramps before the Saunantonio Game and as the heat became apparent, even with all of that knowledge, LeBron is still not going to be able to predict whether or when it's going to hit him, making his knowledge on the matter irrelevant, except to prepare as well as he can and hope it doesn't strike him. And, to add to that, unless everyone is obviously unable to play, LeBron can't really know or control what kind of measures the AT&T Center and league staff would be able to undertake, say, to postpone or cancel the game.

All of these are basically chance situations with imperfect knowledge or control. And they, in aggregate, probably favor the Heat.

The Spurs have come in with a better differential, more (at least by quantity) solid NBA players, more answers to every question, more consistent execution on both ends, and more historical cohesion. This is saying a lot (and is a far cry from a knock on Miami), because the Heat also have all of these things in abundance. And on a couple of these points you could probably quibble with me. But, overall, that's what the Spurs have as a slight marginal advantage -- the knowns just slightly favor San Antonio and disfavor Miami.

And what it means is that, if both teams play in a mystical environment with little to no variance --where every player shoots his average every game and no one gets too high or low-- the Spurs will win every game by 1.5 points*, count their blessings, and celebrate a 4-0 sweep. And, while this wouldn't be such a vacuum, it's worth noting that the Spurs would've won both games if LeBron wasjust 85%. That 85% means he can be gameplanned. That 85% means he can be slowed. And the Spurs excel at that stuff. Other than Kawhi, the Spurs' defense isn't built on lockdown individual defense and incandescent steals, but on solid positioning and playing the percentages. If LeBron is 85% every night (call it his average capacity), I think they weather Game 1 and steal Game 2.

*Or maybe 1, or 0.5, or 2. I don't know. I'm just convinced it's slightly positive.

But they're playing basketball. And that means LeBron is subject to both triumph and lactic acid. It means that he's able to soar at his peak and crash to earth at any moment, all depending on things we don't know. And it means that a Heat role player can get hot, and it means that the Spurs can get tired or dumb and miss rotations. It means that Danny Green can go up for a stupid block attempt on Chris Bosh like two minutes in when he already has a foul. It also means that Mario Chalmers can let his execution slip and get into foul trouble himself. It means that even if you've personally counted Rashard Lewis out, if you leave him open and if the Heat see it, he has a chance to go off. And it means that, not only do match-ups matter, but they're still being navigated and re-navigated as we speak by two brilliant coaches that don't know exactly what they're going to get.

The variance in basketball is high. And in a series with two teams dominated by age and the 3-pointer, the variance is absurdly high relative to the difference in efficiency, making a series that might be the closest of sweeps one way or the other into an awesome drama where everyone is struggling to step up and break through on the slightest of margins, and not get left behind. 

So 1-1 sounds about right.

May 29, 2014

Dr. Seuss Story About Vox/Explainers/538

This is a story I wrote on Twitter about Vox and the rise of the Explainers.























And that's it! Hope you enjoyed! I figured you Pearls-divers might like a little change of pace. That's what I call you that read this site called Pearls of Mystery: Pearls-divers. It's not an organic nickname coming from a healthy community of fans; no, it's just something I call you sometimes.

May 18, 2014

Book Review: "The Black Swan" by Nassim Nicholas Taleb

1. Alex Plays Auto-Psychiatrist

Possibly nothing is more infuriating and terrifying to me than a very particular thought. Let me explain. It's a thought braided together from four essential strands, each strand by itself fairly innocuous, but that in combination - and it's not so rare a combination - constitutes a devastating narrative, psychologically, intellectually, spiritually, and causally. Here goes:

  1. I could have had success in the present if I'd followed a specific past course of action.
  2. I may be hurtling towards failure in the future if I don't change my specific present course of action.
  3. #1 and #2 above are both plausible and - to recognize this - neither requires (or required) any special foresight or ability.
  4. #3 and #2 are true, but I still may be powerless to change course and avoid a future failure.
I wonder whether I even need to elaborate further, or if this is so universal and clearly-framed a alienation quadrilogy that you can instantly relate to my terror. Whatever the case, this braiding of thoughts gives off a Greek tragedy kind of vibe. But it's not even like Sisyphus where there may be something somehow ennobling that you could find in the absurd - it's more like Prufrock or Uncle Vanya: Otherwise-respectable folks hurtling towards failure and oblivion at the speed of light, and noticing that not much of substance has been hurtled so far in one's life. And it's - in large part - the very "otherwise-respectable" part that leads them on the path to doom. It's the heroic tragedy of the non-heroic: It's the feeling of tragedy without even the feeling that one has risen to heights that would at least validate the tragic flaw's value in moderation. 

And, for me, the tragedy unfolding comes from an idleness and an inability to be activated by a hazy future.

Oh, don't get me wrong: I'm pretty happy, stable, and content with what I've done so far, and hopeful for what I'll do in the future. But all this positive energy hasn't always translated into sufficient action in the past, and so I'm right to worry about this larger stuff on occasion, at least as a personal call-to-arms in the visceral present. 

2. Alex Now Directs That Productive Rage Towards Others

And, for all the bluster of the preceding paragraphs, there's a related quinella of thoughts that outdoes all of the previous thoughts in terms of rage, if not so much in existential fear. Here it goes:
  1. I could have done this successful thing that I see before me if only I'd sacrificed a whole bunch of my principles.
  2. #1 is true, and yet, a lot of people I respect see it, and seem to ignore - willfully or not - the latter principles sacrificed for the former success.
And note that this isn't envy: it's me jealously holding onto my principles, and resenting someone who has sold out these principles at apparently no social cost (and social cost as I define it, which adds to the insult). For those that know me, I'm not the kind of person that's rude to workers at fast food restaurants because they didn't get my order exactly right. And I'd like to think that if you saw me screaming at the counter at, say, Chipotle for giving me carne asada when I asked for fucking barbacoa so simple gosh, well, I'd like to think that you that know me would respect me just a little bit less as a human being, or else realize that something is seriously wrong with me today. Ideally, you'd slap some sense into me. And, for the most people, they do. I was a jerk a few weeks ago, and a friend berated me; I slept through something I should've pushed through, and my family told me so. To their great credit. The people around you maintain your standards - it's a large part of what having a Framily really means. It's... très good.

But when I see someone doing more or less the intellectual equivalent of the same fuckery to the public-at-large instead of one unfortunate soul at Chipotle, well, sometimes it doesn't change at all how people see the "perp" - not even for the people I respect the most--not even the people that I'd hope would slap some sense into me if I'd done the same. It's a dirty feeling to watch people I see as charlatans go unpunished in the esteem of those you esteem the most. It's knowing that either you're not living up to your potential and those around you refuse to confront you with suggestions they have no qualms with themselves, or that you're doing these same horrible things as the people you critique, and the people around you are never going to tell you that you're a hypocrite unaware. Or that you're so blinded by your principles that you can't see this legitimately virtuous or intellectually stimulated thing that you - if only you had the presence of mind to see past the bad parts! - could immeasurably gain from. Or, conceivably, that those you respect the most just aren't able to see the same tics and lies and foibles that will haunt you to your grave to see.

And yet, my default response to this infamous quinella of thoughts is not really any of these introspective fears but a kind of instant sympathy for the poor Chipotle worker (and the public) and an instant rage against the screamer. How dare you ruin someone's day for the most inconsequential of reasons?

And, yes, sometimes, the silly and downright evil things that writers and politicians and such will do are dismissed as part of the nature of the game, as inexorable (and thus excusable); sometimes, people just plain love the cattiness and drama of a feud. And, hey, it's stupid to get so mad over carne asada, but it's probably a great story later on! And Obama probably doesn't have as much influence in the U.S. political establishment as we think, and, as far as we of the public know of the influences guiding our politics, maybe civil liberties are the lowest possible cost for a stable society. And maybe it was obvious they were spying on us. And so on. So I try every day to hold my tongue a bit.

Whatever the case, I've been speaking somewhat in generalities so far, and I know that's not ideal. So thank you for your patience. But I'm building towards what to me is the epochal intellectual insult of the last 5 years for me: Trying to read The Black Swan by Nassim Nicholas Taleb.

3. "The Black Swan"

Now, The Black Swan isn't the worst book in the history of civilization, and this isn't the kind of cutesy blog where I follow that up with "At least it's not Atlas Shrugged LMAO". No; The Black Swan is not some monstrous entity that is going to cause a war in five years or something.

And it's not even that bad.

And, for some people, it's even pretty good.

It's quite hard to sum the book up in a way that both respects the book's complexity and acknowledges its contradictions. Nevertheless, the basics go like this: Taleb delves into a large web of influences--personal, intellectual, practical, anecdotal, historical, and otherwise--to make a case that the governing forces of our society boil down to rare events known as "Black Swans". These "Black Swans" are unforeseen catastrophes such as war, market crashes and natural disasters--and Taleb makes the case that such catastrophes are not nearly as inevitable as they appear in hindsight--and they dominate our lives in ways that human beings are not cognitively wired to appreciate. And nearly without exception, our formal and informal institutions--academia, risk management, financial systems, investments--are largely built around a vision of society that is misleadingly stable, and whose misleading stability is self-perpetuating, is fed to us by a host of false analogies that prevail. 

And, therefore (the prestige, if you will, for you Nolan fans) Taleb proposes that the way to thrive in a world of "Black Swans" is to embrace an extreme overall perspective of extreme uncertainty in the world, to use exponential growth to exploit ultra-high-upside opportunities, to manage risk with an extreme attitude of skepticism towards even the most basic assumptions about the future, to think about the world in a fundamentally different ideological way, and in doing so to reject the established ideology of the staid and outmoded traditions built around familiar forms and skinny-tailed distributions that we are all taught to swallow wholesale. So far so good.

So that's where the book finds itself, from a content standpoint (with necessarily huge oversimplifications; I only read ~60% of the book in 2011, and have only recently started skimming it again). 

Of course, as I noted when I tried to review it a few years ago, my most powerful takeaways were in the absurd way that the book proceeds to attempt those content goals:
 Now, this narrative is innocuous enough, and the empiricism and humility and skepticism the narrative seems to engender should render the book fit for any readers looking for marvelous exposition. But there's a problem. Taleb is a shockingly unpleasant human being, who writes of his exploits with the empiricism of a sales pitch, the skepticism of a high-falutin' charlatan, and the feigned, egregiously false-hearted humility of a pick-up artist. Everyone Taleb decides is wrong is a "fool" or a selfish "fraud", or both. Deprecating humor without real self-deprecation. Human nature causes us to be stupid, okay, but simply by his special life story, he's able to be a lot less stupid, and tell us so, is his main point. He takes a broad, often thoughtful, sweep of the history of ideas, which is commendable. However, his reduction of this history of ideas into his self-serving (to the point of arrogance) and others-tearing-down (to the point of narcissism) is disgusting, and it's hard to take his work seriously. People and ideas he doesn't like are trapped by their own delusions, people he does like are polymaths with good senses of humor. The fox is better than the hedgehog, is what he gets from Isaiah Berlin's famous dichotomy. Everything is about whether these people and ideas grasp "the point" (whatever Taleb is writing about at the time) and if they don't, then they are overrated and discarded. ... In Taleb's hegemony of the Black Swan, Umberto Eco's library and the idea of a library containing vastly more unread books than read books, trumps all of the worthfulness of Plato ("Platonicity", or a tendency towards reductive categorization, is (often rightfully) mocked mercilessly), Kant, and all of economics. Everything that confirms the Black Swan is elevated above everything that doesn't yet understand the brilliance of the Black Swan.
All of that quotation holds up three years later, but I'm little bit of a different person than when I wrote that. Beset by the same haunting beliefs and triggers I started this essay with, and still bothered by any random section I happen to pick up of The Black Swan, but with 34 extra months of humility and life experience to my name outside the university, I feel obliged to illustrate what I see as dangerous and harmful about Taleb's book, with a cooler head.

And a cooler head is necessary. Taleb's book is remarkable: It's the rare book that provokes in me both the rage-inducing braids of thought of the first two sections - the tragic quadrilogy and the infamous quinella. I feel the existence of this book almost as a personal betrayal, which is absurd, of course, but I've at least laid out a subjective framework for my feelings. It's wrong to write a book as he has, he shouldn't have extra social capital because of how he wrote it, and my overall impression of Taleb as a human being is still as petty, self-promoting grifter. And I still think that --with some massive gains in intellectual honesty--what he did could possibly be salvaged as something that I could respect. And so I envy Taleb the opportunity at the same time I shudder at him for having wasted it. So some complex, subjective feelings going on. 

But publishing is a stupid, stupid industry at times, and twice as ruthless. If Taleb is half as bad as he presents himself with his book, he's just an awful guy. But maybe he isn't. Maybe he wanted the book to be two hundred pages longer, but they wouldn't let him (perhaps wisely for his sales). Maybe he wanted to present to a larger audience, and good ideas got oversimplified and broadened until they became the kinds of "Four Legs Bad, Two Legs Good" sloganeering that required an internal glossary for all sorts of cutesy neologisms that already had definitions. Maybe--for all my critiques--Taleb is a legitimate genius, and not just a genius at seeming legitimate, and can genuinely flesh out any of the details in his tour d'horizon. And maybe they're the ones that encouraged Taleb to write (or wrote for him) the most egregiously idiotic footnote in the history of the printing press. (We'll get there.) But, whatever his intentions, his book remains as such. And it's that selfsame, rage-inducing book that people are referring to when they praise him. So we can safely focus on the book itself, and its flaws. And that terrible, terrible footnote that I'm getting to.

I'd like to note here that Taleb has no qualms throwing a genius like Gauss to the curb just because it fits Taleb's pet theory and makes it easier for him to write, and has no qualms about then picking up a lesser light like Zipf or Mandelbrot in a bus and driving over 'ol C.F. Gauss, recently toss'd aside. (details in the "Appendix" of the 2011 review). Look: I have no special reason to care about Gauss, but if you're someone with any statistical inclination or training whatsoever, you'll likely recoil at Taleb's reductive, metaphor-heavy interpretations of the world at large. You'll likely get hot and bothered over Taleb's repeated claim that the normal distribution is a "Great Intellectual Fraud". And you'll likely be unsettled by the unstated premise that economists, academic, and statisticians are more impactful in the world than the kinds of Hank-Scorpio-esque venture capitalists Taleb seems to be implicitly preaching to. And you'll likely either: 1) laugh your head off or 2) drink more alcohol than you should when you read that footnote.

3a. That Footnote

About that footnote: The chapter for "Chapter Fifteen" is "The Bell Curve, That Great Intellectual Fraud*". And it's footnoted - that's right, the chapter title is footnoted. That footnote reads as follows:
"*The nontechnical (or intuitive) reader can skip this chapter, as it goes into some details about the bell curve. Also, you can skip it if you belong to the category of fortunate people who do not know about the bell curve."
Now, unlike Taleb, I make no such requirement or excuse for the people reading this essay. If you're a nontechnical reader, I will try to be as accommodating of you as I can; and if I can't explain it, that's on me, not on you. But I have to say: Whatever your qualifications or mine, I happen to find this footnote remarkably condescending to both of us. There's nothing fortunate in not knowing about the bell curve. According to Taleb's own arguments, even if you accept the absolute audacity of his "Great Intellectual Fraud" claim, then it's probably just a bit helpful to know what is apparently the underlying intellectual basis for many of the power-brokers of this country and world. Knowing about the bell curve, in Taleb's world, in mine, and in yours, is really helpful. But Taleb would rather score a cheap point making nontechnical readers feel good about what they never learned. And there's a dangerous xenophobia and anti-intellectualism implicit in that idea, a line of bullshit something "nontechnical readers" may just be best poised to sniff out, in addition to the fact that he is telling you not to read the chapter: Taleb is saying, in essence (pretend that footnote has a double asterisk at the end):
"**If you don't know about the bell curve, I actually prefer it that way, because just hearing about it is deleterious to your processes of judgment, in my opinion. It's such a convincing fraud, that you can't even be trusted to read it. What's more, those that have been inculcated into the Church of the Bell Curve are so tainted by it that I have to quarantine them and fix their terrible ideologies, and I'm only writing this chapter to accomplish that." 
Just to be clear, that double-asterisk part is a thing I wrote just now, but read the actual footnote above again, and tell me - with albeit perhaps a knowing wink - that Taleb is saying something substantially different. I don't think he is. I think he's trying to encourage a radical, almost nihilistic rejection not only of intellectual authority, but to see even the process of educating one's self in the existing order's tenets as harmful. He's giving you investment advice and telling you to ignore well-established math (con or not, the normal distribution is well-studied and universally respected). What is your first response to that? Some would laugh, some would ignore it, some like me would fly off the handle. But maybe someone is able to see it in good humor as a clever jab and roll with the punches. Intelligent people can disagree. But I come away from it as the worst footnote in the history of the printing press, or at least that I've come across. And my old combinatorics textbook had some bad puns in the footnotes.

To me, it's a footnote that speaks - like mathematician Pierre Fermat's awesomely misguided claim of a proof of FLT in the margins - to centuries of accumulated bullshit, and to a book that popularizes concepts by first totally distorting their place in the world and then oversimplifying on that simplistic premise. Metaphors upon metaphors. I remember once speaking to a guy - in the military, if I recall - that mentioned that his first "tell" for simplistic, wrongheaded presentations was the use of metaphors. Which is a stretch, but there's a grain of truth there (sorry): If you're using a metaphor and never connecting it back to objective reality or established academic concepts? Then you're deceiving your audience with good-sounding metaphors, not communicating in a down-to-earth manner. I realize that some books go beyond the framework of what academics have covered or use the ideas in a different way. Still, Black Swan will often make a specious, easy-to-refute claim like, say, that the bell curve isn't just a distribution but an ideology, and that the two notions (ideology and distribution) are literally interchangeable. The simplest clear distinction between "Gaussian thought/thinking" (Taleb's term) and a Gaussian distribution (an extremely well-understood and well-recognized statistical concept that arises naturally out of the Central Limit Theorem and the simplest of probabilistic assumptions) would have sufficed; there is none, and what's left is that Taleb has just baked a metaphor and an argument into his terms without clearly delineating what he's doing.

And, as much as the financial crisis may force a genuine reevaluation towards academia and the finance industry in some quarters, the retreat, if so, cannot be an escape to the people like Taleb giving you easy answers, asking you to skip the hard parts and telling you that all the hard parts are just elaborate lies, as if academia itself is one giant Sokal affair and all the bankers are frauds. No; the truth is more complicated, and the way Taleb creates simplistic, hostile dichotomies and complicated anti-intellectual constructs and rhetoric seems to me far more dangerous than whatever over-narrative intellectual climate in our universities that Taleb perceives.

The first two sentences of Taleb's Chapter 15 feed my interpretation as well:
 "Forget everything you heard in college statistics or probability theory. If you never took such a class, even better. Let us start from the very beginning"
And thus we have a suitably representative trifecta of chapter title, footnote, and disclaimer. You'd have to be paying almost no attention not to see at least one of these three things as a reader, and even less to have missed the dozens of unexplained references to this "Great Intellectual Fraud: See Chapter 15" thing that kept popping up, seemingly once per page* in the previous 230-some pages. Now, in fairness - because there are about three or four sensible responses to this trifecta, only one or two of which involve fits of rage - I should note that the rest of the chapter is fairly unobjectionable and reasonably well-written, even for someone prone to such fits of rage! 

*Well, it would be Poisson-distributed, which distribution Taleb also condemns as a 'non-scalable sibling' of the Gaussian. I'll permit myself a single chuckle here. Heh.

3b. That Chapter With That Footnote Is Actually Alright

Yes, believe it or not, but - after that crazy, rambling Section 3a., we're going into Section 3b. with a positive attitude. For Taleb's Chapter 15 is actually not as bad as it may seem to those of you with statistical know-how that have followed me this far. Really. Taleb goes into the differences between Gaussian and long-tail distributions with a number of decent examples - with a clarity that makes me wish Taleb'd shoved aside the metaphors and persona sooner and more frequently. If you genuinely didn't know much about statistics, there are worse, much more difficult high-level "nontechnical" introductions to fat-tailed distributions, often using obscure prerequisites and definitions. The metaphor of height for Gaussians and wealth for power law/fat tails is well executed and reasonably down to Earth, even hinting at the relative median/mean differences. Taleb has a cute example along these lines: the book industry is so lopsided towards outliers that -if you knew two books had combined to earn $1 million in sales- you'd expect one book to account for 99.3% of the sales! And, to me anyway, that's pretty fascinating. I hadn't studied these distributions enough to know that off-hand, and the counterexample - say two people's height combines to 14 feet; by far the most likely outcome is for the two people to be 7-footers, because of the extremely skinny-tail of a normal distribution making even a person of height 7'5'' extraordinarily unlikely. Excellent example, and using almost no technical jargon.

Unfortunately, even with the increase in clarity and the legitimately engaging parts, the hegemony of the "Black Swan" remains in Chapter 15. After all, Gaussian distributions, Pareto distributions, Bayesian priors, random walks, exponential distributions, and Poisson processes can't simply coexist. No; Taleb insists on finding reasons why certain types of things are almost never useful; and why others are almost always useful. It can't just be that we developed tools for different toolkits for different problems as necessity and understanding arose: 

It can't be that Gaussian distributions are only there to deal with the presumed independent-and-identically-distributed random error terms in, like, regressions and point spreads. It can't be that these Gaussian problems still arise staggeringly often very naturally, and in part because our society is built in part on precise assembly-line engineering with huge amounts of repeated work in which the rare trillion-µ service time Google request can often be dealt with (and, heck, must be) on its own terms by well-trained data analysts as it arises. No, it can't be. After all, regressions are only applicable in Gaussian thought, and its non-scalable siblings! 

And it can't be that rare-but-catastrophic system shocks can coexist with a meaningful understanding of a system in normal times. 

It can't be that the Poisson process helped us understand e.g. bombing patterns and computer systems, that some distributions evolved for quality control, that even the highest-risk investments implicitly require things like computers and cars and transistors to work almost perfectly* to deliver the goods, and that the struggle for a world with those consistent computers and cars and basic human rights has sometimes required individual- and country-sized risks, many of which have failed in history.

*I mean, he paid lip service to Mediocristan; don't get me wrong.

It can't be that the advances in thought by people like Gauss are important too, and that if I'm modelling a computer system, I'd probably start with a Poisson process for arrivals, assume a fat-tailed distribution for service counters, and use normality to smooth out errors that don't fall within the purview of my model in the short term, and use ad hoc analysis if there are larger systemic or unforeseeable fat-tail problems.

No, no, never ye mind; it's all a Great Intellectual Fraud, so we have to chase it and tease out the "fraud" over and over to prove Taleb isn't just giving us something interesting to know that could help us understand the world a little better. No; God forbid a book just do that without creating notions of macronutrients that are always bad or introverts that are always underutilized or project management techniques that are always great or entrepreneurs that are always... etc.

No; God forbid we get a story about the 99% of things that don't benefit from the book being written or even about the 5% of things that, you know, even with the best of intentions, might go seriously wrong if you change the world unpredictably because it turns out your half-baked dichotomies about stats that totally eschew mathematics until the last possible moment don't actually help anyone solve real-world problems except to decide which speaker to go and see next month, and might actually harm someone because of the usually-careless exposition. How do I know something might go wrong if this book actually acquires some traction in the real world? I don't know; it just sounds right. I read it in a book somewhere! 

April 14, 2014

Yet Another White Guy Talking About #CancelColbert

Stephen Colbert is one of my favorite comedians of the last 25 years. "Exit 57", "Strangers With Candy", "The Daily Show", and "Colbert Report" come together to form a massive and brilliant comic resume by Colbert. He can act, he can dance, he can sing, he can deadpan, he can satirize, he can be serious, he can be silly, he can parody, he can improvise, he can make sketches work. He can deliver monologues, he can work in tandem, and he can do it all with a smart, humane personality. Stephen Colbert is, quite simply, a comedic genius - a once-in-a-generation comic talent that only comes along once in... a great while.

But this isn't about what he can do. It's about what he can't do: Step outside his own perspective. Unless Stephen Colbert has good representation of Asian-Americans on his writing staff, he is missing out on the nuances (and possibly even the broad strokes) of the Asian-American perspective. There's no way around that. The perspective of the joke he made (that caused Suey Park's #CancelColbert hashtag to strike Twitter) was emphatically that of the white-liberal comedian and his audience. It's hard to argue that Colbert had a nuanced Asian-American perspective that he was folding into his joke's perspective. He didn't, and maybe the joke suffered for it, and maybe Suey Park has a point.

But can I now dissect this joke by its substance, and not just whether it's funny, proper, satirical, or offensive? While all that stuff matters, their importance is secondary - a joke can be nonsensical and carry no message, but this joke did pretty clearly carry a message. So let's talk about this message, if only to try and lay the cards on the table properly.

So the whole premise was that Dan Snyder's newly-formed "Washington Redskins Original Americans Foundation" is an absurd cop-out from the problem of making gigantic amounts of money off an apparent ethnic slur (Redskins). Snyder's solution uses the slur perversely in the name of the foundation created ostensibly to "help" the afflicted group. The joke's premise is that -instead of actually solving the problem and changing his football team's name - Snyder has chosen to placate critics with a cheap, obviously PR-oriented half-measure. Snyder has chosen the path of most chicanery, like some such shitheelectricity through a current. Colbert is satirically responding to this premise and using his in-character anti-Asian comments from several years ago as a framework to launch into his own half-measure.

This might sound like I'm stating the obvious, but here's the wrinkle: Colbert's joke is not at all about the Asians (or Native Americans). Superficially, both of these groups are being attacked, whether by Snyder's foundation or by Colbert's mock foundation. But the true subject of the joke is Dan Snyder. This might sound like an exaggeration, but the joke is genuinely all and only in the greedy Dan Snyder solving his Problem of the Other by pouring money into a token measure that serves to divide under the guise of unity. The joke is about a white man solving his problems with divisive token politics that might win him a referendum or two; meanwhile his Other is thrown under the bus. The goal of his "Washington Redskins Original Americans Foundation" is clear: Snyder's opposition are left to fight among themselves over a divisive measure (over 1. whether it's adequate and 2. the public perception of fighting against a "Native American Foundation"), and his supporters are allowed to rally behind the "see, he cares" measure. All at (to him) trivial cost. At an added satirical bonus, it's a measure that's only as successful as it's perceived to be genuine. If people see Snyder's actions as fundamentally insincere, it won't gain him any favor.

Whatever the case, if politics is the art of polarization, then Snyder was executing a clearly political PR job by creating the Foundation. The fog of bad faith in Snyder is almost impossible to see through. And Colbert - in his dismissive "Orientals or Whatever" rant - was mocking not only the absurdity of the slur but the callousness and cynicism by which his character deploys it, all to betray the utter political calculation of Snyder's actions. Snyder is - from a perspective of naked greed - allowing prejudices inherent in his organization's name and logo to persist. In other words, it's not the tone or the slurs that create the impetus for a joke. It's the actionable racism that lives in Snyder's actions and the absurd abomination of humanity that must ensue. That's the humor. The underlying racism is the set-up; Snyder is the punchline.

I think that's an important distinction, because - though I don't share too much politically with her - I do actually agree with Suey Park when she constantly deploys the notion of privilege. I think that - as a white guy - I genuinely can't escape my perspective to understand how certain things feel to historically discriminated groups. And I shouldn't try to (or, in a cultural sense, be allowed to) "explain away" the feelings of others. Privilege - as far as I can tell - is real and endlessly frustrating. When I do have occasion to genuinely personally empathize with a political struggle, I realize that genuine empathy is usually limited to directly-afflicted groups. If I happen to be in the 1% that is thrown under the bus by divisive politics (granted: rarely), I suddenly understand all this talk of privilege, and understand that I don't, in a larger sense. I mean, even where you might naively expect there to be empathy (ex: blacks for the gay rights movement, Jews for the rights of blacks in the Civil Rights movement, etc.), the reality tends to be far more complex, because people are complex and guided by many motives, economic incentives, and cultural ideas. And yes, sometimes by these sorts of divisive political maneuvers, while we're talking about them.

 I happen to know that politicians in America since time immemorial - but especially, like, in the South - have used tactics like Snyder's to slow and stifle social progress. Gradualism always needs to be graded on a curve, and when the gradual solution is found wanting, its motives are typically wanting as well. Creating a foundation like that is probably 10% of what Snyder could have done and probably cost him 10% of what it would cost to change the name. When rational debate takes place between 20 and 180% of changing the name, what he has done is almost less than nothing. Snyder has done less than the absolute minimum that a reasonable person could expect of him, and has put a happy face on all of this, well, evil.

And Colbert likely understands all of this more deeply than I. Colbert has grown up and grown old in a American society filled with divisive rhetoric and maneuvering. He has watched Fox News turn news into entertainment and shrill propaganda, watched anti-war protestors systemically denounced as traitors, and seen any number of dog-whistle talking points and token political efforts. Colbert is eminently qualified to have an opinion on the empty rhetoric of a billionaire manipulating the public in the services of societal prejudices.

And therefore, I submit that Colbert's joke is something Colbert ought to be able to make in a civilized society, without fear of condescending to or offending his neighbors. Colbert's perspective may not be perfect for this problem, but he has plenty of relevant experiences informing him that can't be dismissed as casual white-liberal racism, just as much as anyone else in a position to influence the national debate. If the satire was lame or rang hollow (as Colbert's satire sometimes does), then we can dutifully chalk that up to the imperfection of his experience. But if Colbert can't make a joke like that, then no one can, and the whole tradition of satire is dead. And if you can't point out the absurd, then you've guaranteed that absurdity will triumph. If I sound melodramatic about this, it's because I look at the NSA and see a society that has gradually ceded an effectively unlimited amount of power to a shady agency, and so much of the debate gets reduced to "let's talk about Snowden". I think casual nods to ideological censorship by #CancelColbert must be taken overly seriously. If it's a joke, then it's not funny. If it's a hook to click, then it's not worth it. #CancelColbert may have been - in intent - little more than an inflammatory headline to start real debate, but the ugly implication of that "cancel" is a censorship that has long been used in our country to stifle subtlety, reasoning, and irony in favor of doughy-eyed, fearful, unsophisticated deference to the dominant ideology and useless arguments about tone and decorum. I think that "cancel" shouldn't just be ignored as an overreach by a group seeking a discussion - because it's in the language of anti-discussion. It's seeking our democratic sympathies by acting in an anti-democratic way. It's challenging the ethnocentric, ironic perspective of white liberals that believe they've transcended ideology... by bringing an unironic, dangerous perspective from a small group of radicals that refuse to acknowledge the existence of fair debate. Colbert has brought forth a long chain of reasoning to tear down a billionaire's actionable racism; the reformers responded with a personal attack on Colbert as party to racism. And I don't think any of that is right, and, if it is, it certainly isn't made right by the existence of privilege.

So let's talk about privilege, lest I reduce Suey Park and her supporters to caricatures. Our subjective experiences may indeed be filled with totally different triggers and thoughts and meanings depending on our perspectives. I totally buy that. But, in our shared objective reality - an objective reality we must share if we're to make any progress in that reality - we don't have to understand the personal effects of racism to fight against racism. We don't have to understand what words trigger what reactions to know that it's wrong to use a genocidal slur. We don't have to know how it feels to be hit to protest against violence. We don't have to know how much it sucks to have divisive rhetoric deployed against our political movement to know that it's wrong. We just have to have a baseline of understanding, a smidgen of empathy, and a conscience. Direct, firsthand experience of racism would certainly help, but in its absence? Secondhand principles and an open mind are perfectly valid substitutes as far as politics is concerned.

And sure, please! point out the shallowness and utter inauthenticity of white liberal comedians making casual jokes and conflations between your experience and other experiences as generic Others. Please! Point out how you feel put-on and condescended to by Colbert's maybe-not-so-innocuous choice of target. Seriously, there is a huge place in the world for pointing that stuff out, and at least bringing it to the surface for discussion can only help. And maybe Colbert himself would do well to acknowledge the validity of Suey Park's accusations of privilege instead of ignoring the offense taken as a misunderstanding of satire. After all, there are plenty of perspectives Colbert - like all of us - can't empathize with. But if we're to have an American democracy at all where problems can be talked through and worked out as a society, at least to an extent? Then I fail to see how it's helpful or productive to use the notion of privilege to crowd out and trivialize the issues of substance about which Colbert - and Park, and all citizens whose goal is a better, more tolerant society - can occasionally speak with authority.

April 11, 2014

Quotes that aren't from "The Wire"

These are not quotes from HBO's critically acclaimed Dickensian epic "The Wire". These quotes are not accurate for the most part -- nor, if they are accurate, are they accurate reproductions of that show.

"Let's be startin', then."

"It's all in the game."
"You know it."

"The game is on!"
"Always."

"As real be, as real do."

Prop. Joe: "Meeting adjourned, Proposition Joe."
Young Dealer: "Yo, these minutes be like hours."
Joe: "We runnin' a criminal fuckin' enterprise here. These minutes be like years. You just ain't see it, young'un."

"If you in the thick of it, they lookin' to skim some off ya."

"Our true colors deep down, McNulty, and we ain't white and black."
"What are we then, Omar?"
"We red and green. And if you ain't makin' green, you're runnin' red. I'm just the motherfucker with a color wheel. Chaos, ya feel me?"

"We got enough dope to feed the world, haha."
"Burn it all, yo."
"What'chu say?"
"World ain't enough to get the cops off our corners."

"I'm going legit, Avon. The city of Baltimore will be ours and the fucking cops will be off our backs forever. I got a hundred million invested in every dime store, slush fund, and 7-11 in the goddamn city. We kings now, Avon, and nothing can stop us."
"Stringer, I always knew you ain't know shit about shit."
"What? I have all the papers. We have political favors from every single establishment in the city, and regionally. Everyone depends on our supply of dope. If we stopped dealing, the whole city would dry up. Our mayor would get impeached, the governor wouldn't get re-elected, and all our schools and 1000 businesses would go belly-up. We have them by the balls, Avon, and they don't even know it yet. We could literally become aristocrats, travelling around the world and shit, and no one could say shit. Because we'd be powerful, man. We would have the power. Our right-hands could get paid and up a high-rise theyself. We could sip champagne for the rest of our lives with this monster dough and we wouldn't have to sling another ounce our whole lives."
"Stringer, I'll wet you up."
"Why? We livin the dream, Avon. The dream! And we're as ruthless as the streets ever were! You want some blood to end? Just name a name."
"If it ain't bleed from the corner, it ain't even blood."
"What?"
"I'm out. Have fun slingin' on the corners without me."
"Okay?"

April 1, 2014

President Obama Addresses the Nation

For months President Obama had been convincing Americans of all walks of life to register and enroll in a health-care plan by March 31. For months he stumped for enrollments and advertised the website where registration was to take place. Despite some well-publicized and politically disastrous hiccups with the website's design and reliability, everything had gone more or less to plan. The enrollment numbers were more or less in line with optimistic projections.

Then, the day after the deadline, following this massive campaign, President Obama naturally sought to address the nation about his plan. This would serve both as a gentle reminder to some of the stragglers as well as a more serious marking of a political milestone by which the president marked his days - and by which smart observers marked the soon-retiring president's remaining power.

Clearing his throat audibly and addressing the nation from the U.S. Capitol, President Obama closed his eyes, put his head down, and waited for the rapt attention of the American People to descend upon his eyes and the mysteries their opening would produce.

Opening his eyes slowly to reveal a fierce, unblinking stare, the president stared at the cameras.

"Poof," said President Obama with perfect clarity, gesturing with his hands that something had either expanded rapidly or disappeared.

"Poof," said President Obama again, even more clearly, repeating the hand gesture, without breaking eye contact with the camera. The object of his repetition was patently to ensure his first syllable was no accident.

"No one in the United States has health insurance," President Obama said, repeating the hand gesture yet again. "Poof. Waved away. Not to be. Disbanded. No one in the United States," and he put his hands together, as if showing the pre-gestural constitution of established things, "has health insurance, anymore," and he repeated the gesture.

President Obama smiled evilly, "No one. In the United States of America. Has health insurance. No one. In the United States. Has health insurance. No one..." and he stopped short while staring at the camera.

The camera did a slow, clockwise 360-degree pan from the front of the Congressional chamber and back again, revealing that the entire chamber (which could seat 1000 comfortably) was totally empty, save for him and a few guards (to be expected, naturally).

As the camera finally came back around and the president returned to center stage. "...in the United States of America."

One of his handling guards suddenly acted shocked and asked (and it now became apparent that the guards were mic'd up), "But, Mr. President, where will I go if I need health care?" with the timing of a comic straight man.

President Obama answered calmly. "Oh, you'll pay for it. Or the government will. We're cutting out the middle-man. I'm basically one foot out the door, and so I'm going to swing for the fences on this one. I mean, really, why not? It's a stupid - or, at least, not overtly smart - idea but the alternative is stupid too. And we all know it. So screw the political system, screw the doctors and insurers and pharmaceutical companies propping up our administrations - I just want it all gone. They're all real people, but they'll have jobs after we reorganize. No more compromises, no more complexity, no more machinations. This is a good thing that everyone will enjoy, or it will be just as bad as what we have now. You'll learn to like it, just like Europe, which, by the way, I am a socialist, and have been all along. Suck on that, Rethugs. Haha, just kidding. You're part of the country too. This is just a thing I'm doing on the side."

"But you're going back on everything you-"

"What? The political positions I clearly took to try to solidify my power, with mixed results?"

"No, I mean, you NEVER advoc-"

"But why not? Who honestly is gonna stop me. I'm throwing my whole wad of political capital at this one single piece of shit problem, and giving up on everything else. Enjoy the election, Jon Huntsman? Yeah, I'm not endorsing him, it's just that I can see into the future, just like all presidents, including future-President-elect Huntsman. I was surprised too."

"So do you know this will pass?"

"Actually, that crystal ball only tells you who's gonna be the next 5 presidents. It's kind of useless, honestly. Like, otherwise it would be really easy to govern, you know? Or at least it would be easy to relax, haha!"

"But, Mr. President, what about the website and the enrollments? You spent months, years-"

"April Fool's. Come on, that website was fucking hilarious. Give me a little credit, Tom."

"Well, who's gonna be the president 20 years down the line, then?"

"Ooh, that's classified. Sorry, America. You'll have to actually vote, because no one's gonna tell you. Huntsman's sure as shit not gonna risk a second term telling you, and the guy after that isn't, either. So it won't seem predetermined, even though, if you really think about what I've said, it must be, you know? One of them paradoxes for you. Don't think too hard about it, America!"

"Alright. Look, one more question."

"Go for it, Tom! You know I'm the president that listens to your problems, America."

"Mr. President, I just have to know: What kind of political capital could you possibly have left that would allow you to pass massive reform of this type and scope?"

"Uh... you ever been naked near any phone, ever, Tom? You ever tell someone a secret you wouldn't want to be public? You ever eat food like a pig while your phone was right there? You ever make a Google search you wouldn't want the entire world to know about?"

"I mean, yeah, Mr.-."

President Obama stopped Tom with a wave and pointed to himself. "Yo."

"What does that mea-"

"That, but everyone in the country. Check and mate. I don't want to but I will if I have to. Look at me. I'm crazy. You know I will."

"Fuck."

President Obama smirked once more and said, "Don't use profanity. You're on national TV."

Addressing the camera, with a suddenly standard gravitas, President Obama said, "Please, for those of you that haven't signed up, it's very important that you go to healthcare dot gov and choose a plan. We've been retooling the site, and I'm sure you'll find it much more usable than ever before. Thank you, and God bless America." He appeared to lose all control of his laughter at the podium, smacking it a few times and wiping a few tears away, before regaining his composure and returning to his established pose of gravitas.

The camera zoomed slowly out from him. President Obama winked and shook his head and made the disappearing motion with his hands as he mouthed the word, "Poof." as he and Tom instantaneously disappeared from the now-empty Chamber of Commerce for the feed's final frame of footage.

February 24, 2014

True Detective: A Diagnosis

Warning: Spoilers for True Detective ahead (through Season 1, Episode 6).

Before we know "whodunit," it's hard to pass full judgment on HBO's True Detective, a bleak, stylish mystery-drama whose eight-hour run is (as of Sunday) six hours in. That said, we can start to make some judgments and to parse which criticisms of the show still have validity. And, as I sit here on Monday morning, I'm finding that --while the show is great in many ways-- it's quite flawed from my perspective, and these flaws are too central to the show for me to ignore.

First of all, I'm well-aware that mystery is quite a hard genre to write. Arthur Conan Doyle's Sherlock Holmes tales established the work-a-day formula, but note that executing the formula well can't fundamentally be any easier than the act of writing itself*.

*NOTE: Mystery is an inherently complex genre whose complexities mirror (and usually exceed) those of general storytelling. Any story that has a beginning, middle, and end typically must reveal information strategically to set up the audience for the ending. Generalization? To be sure, but mysteries and traditional narratives require most of the same talents to structure and execute.

And, with that in mind, True Detective has done pretty damn well with a difficult genre. TD introduces so many narrative constructions, philosophical ideas, and conflicting accounts. And it packs its episodes full of clever details and clues. For all its complexity, TD manages to keep it all together, primarily with great cinematography and the excellent acting of Matthew McConaughey and Woody Harrelson, who ground both the central mystery and the detectives' dramatic arcs. It's impressive.

The complexity of both the mystery and narrative has meant in practice that the show's final two hours could resolve the show in dozens of ways that would all feel satisfactory. And I don't feel like it's cheating to get to that sweet spot by presenting too much stuff (like, say, S2 of Twin Peaks). All this sophistication (as well as the textually-rich hour-long episodes) contributes to an enthusiastic audience. Frankly, while I'm far more critical than the vast majority of viewers, I still want to know how it ends, too.


All that said, what are these supposed flaws that make me so uneasy? Well, most existing critiques of the show have focused on its treatment of women. I'm not really sure that's it. Emily Nussbaum wrote this New Yorker piece critiquing the show on this count. Unfortunately, Nussbaum is not honestly engaging with the work fully. Whether this is her or the show's fault is anyone's guess, but Nussbaum's claim that Hart and Cohle are the "male detectives" who spend their time "bro-bonding over 'crazy pussy'" is quite a misleading oversimplification.

I think a more troubling claim (and, as I'll try to argue, a flaw that spirals out to the rest of the show) comes from Nussbaum's calling-out of the gratuitous sexualization of the women. The presentation of sex in True Detective feels excessive and titillating (such a literal word. Heh.). And it sometimes feels like it's the only thing the women do, outside of talking to and about men. Most of the women are sex workers, sex objects, sex victims, or s.o.-defined Bechedel-flunkies. The sex scenes feel pretty perfunctory and their rate, frankly, quota-driven*. In such a work, with apparent prestige and seriousness, this alone would at least qualify as a minor flaw.

*If I had to play word association, I'd say the apparent one-or-two-per-episode-goin-to-town quota reminds me of none other than the "classy" after-hours soft-core on Cinemax from when I was, like, 12. Do they still have that? In any case, I recognized it was very silly, even then, despite being inordinately hottt.


Anyway, the female characters' paper-thinness constitutes a minor flaw only if you also grant the standard response:
It's a story of two detectives, Alex. The show only has 8 hours to make a convincing mystery and tell an engaging story about the relationship between the two detectives, who, you'll grant, are pretty damn good characters. Focusing on more of the characters would distract from the main story.
The "only two detectives and eight hours" thing is convincing to me at first, but starts to fall apart on investigation. First of all, most of the central dramatic baggage for Harrelson's Hart (and even some of Cohle's) revolves around Hart's wife Maggie. Maggie - though well acted - is not given a lot of lines to establish herself as a rich inner person, even though she participates in all of the following crucial drama:

  1. Demands that Cohle go to dinner at Hart's house, then draws out Cohle's tragic personal history.
  2. Repeatedly is shown to have deep knowledge of and insight into the tendencies of both Cohle and Hart.
  3. Tries to get through to Hart repeatedly about how destructively he's acting and how far he's fallen.
  4. Has revenge sex with Cohle, drawing first Cohle's rage at being used and then Hart's rage at being cheated on.
  5. Repeatedly commiserates about Hart's flaws with Cohle.
  6. Ultimately forgives Hart after he's caught cheating in 1995.
So in six hours of screen time for the series so far, Maggie has done at least six hugely-important things pertaining to this "story of two detectives". And so, let me get this straight: If Maggie's not important enough to give that third dimension of a rich inner life to, then why is she important enough to be a central part of Hart and Cohle's narrative, characters, and perspective? You can't have it both ways. She can't just be a paper-thin character who is completely defined by her feelings toward Hart on the one hand, and then on the other hand be the conductor of so much of the work's dramatic tension.

Now, you could just as easily read what I've written and conclude that Hart's wife is more than a convenient image or obstacle. She's doing things, influencing the male detectives, fighting back! And that's true, but only because Maggie is written to be smart. But it's always the same sort of tired, conveniently-expository intelligence. She's the kind of smart that drives the male characters' plot, not the kind of smart that suggests a full range of emotions or an interesting schema for her actions. She's not Maggie. She's - as far as the show is concerned thus far - Hart's disappointed, insightful wife. Her insights are on Hart and Cohle. Her disappointments are with Hart. And that's who she is. She doesn't like to be cheated on. Neither would anyone else. There's, like, one scene she's had outside of Hart or Cohle, and it was the time she flirted with a random bar patron to get back at Hart.

My point is that when you've spent that much time on a character that does so many different things, you can't turn around and claim you didn't have enough time to develop her. If the show doesn't have enough time to flesh out its third-most-important character as more than an elaborate, purely-reactive counterpart? Then that is a major flaw that's hard to ignore. The show should have been given more time or told its story with less momentum riding on her.

But for all of this, I don't really care if Maggie is fleshed out. That's not the central problem. No, Maggie is just the cheat code to the central problem of the series. Maggie is the key to Hart's bullshit because he spends seemingly half his screen time ruining their marriage, acting hypocritically and self-destructively, cheating on her, and ignoring her. It's sort of like a sitcom character in season 7 that never goes to their job if it's a family show or never goes to their family if it's an office show. Hart just never does anything except ruin his marriage. He never acts like a good cop or detective, and has no apparent principles that he actually sticks to, other than vague regurgitations of arbitrary, jealous masculinity. It's not readily apparent whether he's even competent. 
Cohle is doing everything important that actually amounts to purposeful action or perspective in both the mystery and the drama
Not at all a reflection on either actor (McConaughey and Harrelson both have wonderful, understated performances), but in the writing, you can't help but notice a glaring asymmetry. Cohle is essentially doing all the detective work himself; Hart is mostly just along for the ride. Cohle spends extra nights looking up casework; Hart "needs people" and is constantly hitting on potential mistresses and one-night stands. Cohle has integrity and wisdom and a well-developed perspective on human nature; Hart grouses for him to shut the hell up. Cohle keeps silent because he correctly judges that Hart wouldn't understand him anyway; Hart mindlessly repeats his backwards status quo while violating it constantly. Cohle is provokable and, by default, an aloof jerk; Hart is sadistic and vengeful to anyone that hurts him.

Now, all of this stuff reflects on good written characterization for both Hart and Cohle (and, certainly, great acting to flesh it out). The problem is, if you'll notice: 
Hart sucks as a foil
Hart's main skill is his charm with people, making him, yes, a natural foil to the cold, aloof, sometimes-sadistically-frank Cohle. The problem with this dynamic is that it's too lopsided: Cohle is inevitably always mostly right, except to be slightly more cynical - and infinitely more heartless - than is strictly necessary. Meanwhile, Hart is never more than superficially right, always pointing out the tiny flaws in Cohle's methods, but mostly just mad that Cohle made him think things about himself.

The main difference between Hart and Cohle - and the show is adamant and multiply explicit about this - is that Hart is fundamentally incapable of self-awareness and the attendant self-control and consistency that comes with self-awareness. Cohle is extremely self-aware, even of this very dichotomy, and this gives him immense power over most situations and intense insight, despite having less of the natural charm and understanding of conventions of Hart.

In short, Cohle is a philosophical pessimist that considers self-awareness a mistake in evolution, that would commit suicide if he had the constitution. Cohle is hard-working, has integrity, and is full of brilliant insights that just aren't appreciated by his corrupt and backward society (at least as the show presents both). Meanwhile, Hart just does nothing except defend his own ass and make witty rejoinders. If I might venture a single speculation, I'm guessing that Hart shot that bound meth dealer in 1995 because of he realized that they would eventually lead back to him from some past misdeed or corruption. And pure self-preservation without principle, rarely makes for good, cerebral drama (though Taken was pretty good, kind of).

Everything about Hart, all his complexity, all the rage and charm and activity, all of it adds up to excellent characterization in the hands of Harrelson. But it also shows how Hart apparently adds little to anything that's happening in the plot at large, and -the more serious charge- adds little to temper or play off of Cohle's extremes.


The foils of brilliant detectives in literature tend to work because they bring out something in the detective's character. Hart is basically making standard interpersonal messes for Cohle (or any other competent person in the same situation) to clean up, and Hart dismisses and refuses to engage Cohle's philosophy, except by gritty equivocating. Face it: Hart's a crappy foil. It'd be like building an entire season of House M.D. around House vs. Cameron, or an entire volume of Sherlock Holmes vs. Random Opium Den Addict. It just doesn't hold up. Hart's sarcastic to Cohle, and has the basic presence of mind to recognize Cohle's abilities and use them to his advantage. There's more to it than that, but surprisingly, not that much more.

Orson Scott Card, in the foreword to Ender's Shadow, called it a "parallax novel" to Ender's Game. That is, Shadow presents the events of Game from the perspective of a totally different character. The implication here being that Ender and Bean - by having two perspectives on roughly the same events - would bring a deeper understanding to one another's characters and to the story as a whole. The concept of "parallax" applies more broadly than to this special case: I'd argue it applies to virtually any situation with foils asked to respond to the same events in their own particular way. 

When Hart and Cohle collide as the two fully-developed characters, we get a parallax view of the world they inhabit, and it's probably the single weakest part of the show.

After all, since we're seeing the world primarily through the eyes of Hart and Cohle (and thanks for noting this, "only 2 detectives, only 8 hours" folks), surely the difference in their perspectives should color the world. In practice, there's really no difference. 

Oh, sure, they act quite differently. If they have a suspect in custody, Hart would politely try to get a confession, but would probably be stopped by charm and a desire to please superiors (and to not look like a freaking psycho). By contrast, Cohle looks into the suspect's soul, deconstructs their sins, and tells them, e.g., that they should kill themselves, you know, just looking at the situation rationally.

They act in different ways, but, practically speaking, Hart doesn't actually have a more positive view of human nature - he's just more willing to equivocate with self-preserving bullshit. So what we get is one character preaching and pronouncing a complex judgment and another one that doesn't really disagree, or can't really articulate a disagreemeent. It's a parallax calculation between an observatory telescope and a dude squinting at the Big Dipper a couple rooms over. And the view that predominates in a work is almost necessarily the best-articulated.* We end up accepting Cohle's gritty worldview because that's what the show rhetorically leads us to believe, by not presenting alternatives or even just a fresh perspective. And, if we're to accept this show as saying something in a literary sense, taking the only other 3-d character's perspective wholly off the table is very limiting.

*ex: Jensen's speech in "Network" is the high-flying trapeze everyone remembers, dwarfing the more-ubiquitous "Mad as Hell" speech in enormity.


I'll repeat the caveats: True Detective does a lot of stuff right, it's an interesting show, and plenty of people smarter than I like it very much. Emily Nussbaum's New Yorker article is mostly stultifying and superficial, and if True Detective produces a legendary ending, I'll be the first to applaud it. Plus, given that this blog's first life was as a Lovecraftian basketblog, I'm curious to see what they'll do. But the show's flaws provoke a lot of skepticism in me, and if the ending disappoints and the show is forgotten in six months, I'll not be surprised in the least. After all, the apparent "problem with women" in True Detective is less a problem with its women and more a whole host of problems at the show's core, including bad writerly choices about characters, focus, and perspective. And those choices are informing the rest of the series.