Is there a straight line from the libertarian exuberance of the Cannonball Run to the political philosophy of the anti-masker?
The traffic stop is by far the most common site of police-initiated contact with the public. At their wide discretion, police may ticket, detain, and even jail drivers for many violations. Data shows clearly that African Americans are stopped, searched, and threatened with the use of violence at significantly higher rates than are white drivers. Although we never think of it this way, that means the inverse is also true: white drivers are let by, let off, and less harassed by police than Black drivers.
Which automaker “had to his credit,” in the words of Michigan senator Arthur Vandenberg, “more erratic interviews, more dubious quotations, more blandly boasted ignorance of American history, more political nonsense and more dangerous propaganda than any other dependable citizen that we have known”? Well, Henry Ford. But also, a hundred years later, Elon Musk.
How will this unprecedented new reality affect mobility? Will Uber charge extra for a germ-free ride? Will fear of contagion reverse twenty-five years of steady growth in mass-transit ridership? Will workers be willing to sit in traffic after weeks of commuting to Zoom meetings in their slippers? I would love to provide answers, but right now I can’t see past Tuesday. Wait, is today Tuesday?
Blunt and regressive, Ford’s new TV commercials make do without jingles or CEOs, opting instead for Breaking Bad’s scary-manly-paternal (don’t forget Malcolm in the Middle) Bryan Cranston. Dressed in Steve Jobs gear, Cranston is on the verge of delivering a “Future Talk” when he shakes it off at the last minute: “The future wasn’t made in a keynote speech,” he declares. (Presumably this includes Jim Hackett’s keynote speech about Ford’s future.) Next he’s in an easy chair aboard Air Force One: “A presidential speech did not land us on the moon.” Cut to men with pocket protectors sweating over the Apollo Lunar Lander. “Millions of man hours did.”
Scenario Three. It is a sunny day. On a one-lane road in upstate New York, a young boy is riding his bicycle toward a blind curve. A self-driving car rounds the corner carrying two passengers: a teenage girl and her boyfriend, both of whom attend the same high school. Although the self-driving car is driving at a safe speed, it cannot brake quickly enough to avoid hitting the boy on the bicycle. The car can either hit the boy, killing him instantly, or it can swerve off the road and crash into a large oak tree, sending the car’s passengers through the windshield and into the woods. Knocked unconscious by the impact, both passengers will die before an ambulance arrives. The boy will flee the scene.
The Volkswagen scandal was more diffuse, technical and tedious than most journalists allow.
Scandal always captivates, and the VW news captivated Americans for months—even those Americans who usually skip past the automobile section. Reporters like Ewing published updates nearly every day. John Oliver even jumped aboard with a comedy bit mocking the German language and ended with the line, “Hitler trusted us, why won’t you?” With the market prepared, Faster, Higher, Farther has been published simultaneously in English and German, and the author has been appearing on the morning shows to talk corporate scandal. Leonardo DiCaprio bought the movie rights.
The proliferating but ever meaningless distinctions between the “bad” Uber and the “good” Lyft have obscured how destructive the rise of ride-sharing has been for workers and the cities they live in. The predatory lawlessness that prevails inside Valley workplaces scales up and out. Both companies entered their markets illegally, without regard to prevailing wages, regulations, or taxes. Like Amazon, which found a way to sell books without sales tax, this turned out to be one of the many illegal boons.
They would have never guessed that I was nothing like them, nothing at all, going not to my job but to my loft, about to sign a new lease on life.
The billboards began advertising the city long before I was even close to it. In fact, I’d barely left the Blandon City Limits when I saw the following question floating in my periphery: WHAT DOES FAMOUSTOWN MEAN TO YOU? Famoustown meant quite a lot to me, actually. Even though I’d never been there, it was a place I had been hearing about all my life. Big events were always taking place in Famoustown; it was a place that other places looked to for information on the current trends. It was also a place where famous people lived, and this had always given me pause. While I liked famous people just as much as the next person, I never wanted to be famous myself. After all, it didn’t take much to see what fame did to people, how it puffed up their pride, and let them speak every word with certainty; and how, over time, it seemed to make them resemble not the pleasant, ordinary people they surely were before fame found them, but rather mentally ill ghouls. And that wasn’t going to be my route, I knew.
Every film franchise is a testament to growth and conquest. In the case of the Marvel movies, that growth is exponential and expanding: movies beget more movies, more spinoffs, more series that emerge from spinoffs. What sets the Fast and the Furious series apart from franchises like this—at least for now—is its habit of folding all that hot-media-property energy back into itself, making the movies all the more strange and intense.
The car of the future will be needy and unnerving, and will lack comic timing.
Imagine the value of a car that, thanks to an exclusive multi-year partnership, autonomously drives past Dunkin’ Donuts and heads straight for Starbucks when you say, “Leaf, get me a coffee.” Or, a car in which Nissan Pay replaces Samsung Pay or Apple Pay and takes a piece of the action.
