[written in the wake of Tina Fey's 'sheet caking' SNL bit]
During the turn of the last century industrial production advanced to such a degree that, for the first time ever, the owners of these industries had to deal with the volume of production outpacing consumption. The quest for profit drove the owning class to, instead of slowing down production, condition the population to consume products and services based on want instead of need. And thus the public relations industry was born out of an alliance between the owning class, the political class, and the elite artist/media class. This machine mass produces culture that aims to shape the desires of the public, to channel their desires, and therefore actions, into activities that serve the interest of the ruling classes: what to buy, how to interact with other people, who to vote for, how to feel politically, etc... aka consumerism, aka The Manufacturing of Consent, aka the The Society of the Spectacle.
The idea of the clebrity is integral to this process. They serve the above described process in two ways: 1) they [re]produce cultural symbols that are designed to grab people’s attention and stimulate their emotions. Once in a state of heightened stimulation the consumer of the artistic product is vulnerable and open to influence. This is by design, as the PR industry grew out of the study of psychology (the father of modern PR is Edward Bernays who is Sigmund Freud’s nephew). 2) They act as a symbol of freedom and validation of the bootstraps/work ethic myth. But, their freedom is a kind of slavery. In order for them to maintain their place in society they are doomed to reproduce symbols that serve the ruling classes for the rest of their lives (or as long as they want to maintain their status). Some artists receive notoriety outside of this model, particularly those opperating in the wake of the new deal when there was considerably more economic freedom in this country. Under these cultural and economic conditions, the mainstream political realm becomes a kind of a theater of the absurd in which objective reality is put through a meat grinder of impoverished political discourse. That is to say, much like mainstream art and entertainment, politics becomes a circus of personality.
So, the fact that we (the big we), ecouraged by the media, put so much weight on the political opinions of entertainers and also obsess over every little detail about the actions of our farcical president and his reality show of a cabinet, is fucked. Both of these things are distractions. In light of recent events I think it's necessary to say that both Steve Bannon and Tina Fey produce diversionary culture that benefits from, and further feeds modes of social relationship that uphold the ruling classes: the former pedaling white-supremacy, an older and much cruder form of violence, and the latter pedaling milk-toast liberalism and consumerism, newer and more refined forms of violence that operate on less easily perceptible levels. But Bannon and Trump have dipped into the more subtle world of theater as well, as it seems as if they are conducting their political games according to the playbook of Vladimir Putin’s former First Deputy Chief Vladislav Surkov. Surkov is notorious for his use of disorienting theatrics in order to maintain political power. In 2013 The Economist described his style as such:
“As the political mastermind for Vladimir Putin for most of the 2000s, Mr Surkov engineered a system of make-believe that worked devilishly well in the real world. Russia was a land of imitation political parties, stage-managed media and fake social movements, undergirded by the post-modern sense that nothing was genuine. Mr Surkov called his creation “sovereign democracy,” a term whose vagueness revealed its flexibility. It kept the surface of Russia’s managed political system calm until December 2011, when opposition to Mr Putin’s rule broke into the open.”
Opinions and critiques about her comedy style aside, she is a classic sell out who has made absurd amounts of money through her ad campaign with American Express. I can’t seem to find a specific figure, but I have faith in everyone faculties to infer. And, in case anyone needs reminded, American Express is an unregulated, non-democratic shadow financial institution whose owners make money off of the economic enslavement of it’s customers. If we want to live in a truly free society, institutions like these will need to be nationalised and democratically controlled. Furthermore, it is the very socioeconomic structure of fame that is at the heart of the problem. Albeit much less superficially offensive than Bannon's style, Fey and artist’s like her perpetuate and are rewarded by a system that operates according to a similar strategy of turning make-believe into reality. Maybe she doesn’t know any better or maybe she doesn’t care, but either way she’s part of a much larger trick that should be struggled against in all of its forms.