Eric Weinstein: Hello, you found the portal.
I'm your host, Eric Weinstein.
And today we're here with a fabulous author who many of you will know?
Bret Easton Ellis famous from less than zero and American psycho.
And now the book white.
Bret Easton Ellis: Welcome.
Thank you for having me, Eric.
Eric Weinstein: So, I don't know exactly, uh, how to approach this,
but one of the, one of the frames that I have is that we're sitting
here in a very unusual city, that many people don't understand how important
it is and what makes it so unusual.
And one way I might frame that is that because Los Angeles is the home of
the entertainment industry, there's a weird way in which this is the only
city in the world in which I could make the argument that everyone's some.
Somehow partially lives here, whether they know it or not, they've consumed
the street scenes, which are used as backdrops for movies and TV.
And they have an idea of what the ethos of the places, which sort of
seeps into the screen writers, uh, mindsets, no matter who they are and
in any way that LA is different, it does broadcast itself to the world.
Does that resonate with you?
And can you add anything?
Bret Easton Ellis: Well, I think it, it maybe resonated that way for me
maybe 10 or 15 years ago, a lot more.
Uh, I think, uh, the entertainment industry is not centralized just to
Los Angeles anymore, or at least that's the way we look at entertainment.
Uh, it seems to be this kind of global thing and not wholly concentrated in
Los Angeles where it used to be though.
Now you, you might have to, uh, say that it is because Disney is the entertainment.
Business Disney now owns everything.
That's the conglomerate that is going to produce an inordinate amount of
content for the rest of the world.
So maybe it actually has come back here and is centered here.
Um, but you know, it's strange, there are so many.
The entertainment business or the notion of the entertainment business
is now this global thing, whether it's China, whether it's India
has a massive, it has the biggest entertainment complex in the world.
The highest grossing movies.
I mean the biggest.
You know,
Eric Weinstein: but that's a diff the consumer base for, uh,
Bollywood is very different.
So if you're in Indonesia, for example, or if you're in East Africa, you'd be
much more likely to run into somebody.
I mean, famously, uh, Raj Kapoor and, you know, some of his
songs are known by all Russians.
Right.
But that hasn't had the same impact.
I think.
I mean, I think you could take the biggest films, like a show lay and people in
the U S have never even heard of they
Bret Easton Ellis: haven't.
That's correct.
Um, but.
Uh, I think it's because, uh, LA has been so central in our minds to
the entertainment business since its inception, I guess, in the twenties or,
or, or before that, that we, uh, that's where all of our associations are.
They're all.
When we think about the movie industry, when we think about the entertainment
industry that is just been around for so long that we always think that
LA uh, we, we connect LA with that.
Um, and I also think that it's, um, Um, it has a lot to do with, uh, the way LA looks
as a kind of a parrot paradise, a kind of identic Eden, like, um, uh, Uh, location.
Um, and of course we've seen so much of it in so much of our, of the
content we've consumed over the years.
We've seen its roads.
We've seen its hillsides.
We've seen its beaches.
We've seen its deserts.
Um, that, that, that might be one reason why we're, uh, we, we connect LA with.
The business of entertainment?
Eric Weinstein: Well, I mean, I think you just, if off what you're saying, if
I just thought about street names, you know, why is it that a Mulholland shows
up in Tom Petty's free fallen or is the title of a famous David Lynch film?
You know, sunset Boulevard, all of these.
Streets, you know, only New York might have in some sense as iconic
street names, which are sort of projected out through the industry.
So that's one indicator to me that, um, you know, if I thought about
the streets in Houston, I have no idea what the name of, of important
streets in Houston might be.
Bret Easton Ellis: No, nor do I, um, yeah, I mean, we'll look so much at
the talent, um, that creates, uh, this content of course lives here.
Uh, and they reference everything about the place in their work.
And, you know, look, I have to say as someone who grew up out here
and someone who has written about this in about three of my novels
were Holy Holy set in Los Angeles.
Um, it is.
The most, um, creatively, suggestive place that I've ever lived.
And I've lived in New York and I've lived in Vermont and I've lived in Virginia
and I've spent a long time in England and in Paris, nothing really compares to.
Los Angeles in terms of how it's activated my mind and made me want to write.
Um, and, uh, I still feel that way.
I've always, I felt that way since I was a teenager.
There's a sense of possibilities and a sense of freedom here because of
the constant mobility and especially the freedom I associated with being a
young person in LA and having access if I wanted to, to be at the beach.
And then an hour later, be the mountains and maybe an hour and a
half later be at the desert that this whole thing was still available to me.
And I had the mobility to, um, get to all these places and that activated a
kind of freedom in my mind that wasn't only physical, but it was also creative.
And it's very hard to explain that to people.
I mean, when I talk to writers that I knew who grew up in New York or
grew up in the suburbs, um, I don't know if they really, uh, can access.
That.
And I, uh, I think about that a lot.
Eric Weinstein: It seems to me that in somehow in some ways,
um, that huge number of different environments really defines the place.
And because LA doesn't have in what I consider to be a good general description
in the world, we don't think about it the way we think about Paris, for example,
or, you know, even New York, uh, People very often don't realize that this is
like, you know, the home in part of the Rand corporation or that there's an oil
field that partially defines the city.
It's not a very easy to understand place.
And I thought that in part, um, you know, just as you're talking
about the natural environments of Los Angeles, also the ability to go
back and forth between skid row and sunset strip and to see the sort of.
Ways in which, um, the, you know, the illusion of the Hollywood Hills and the
dark underbelly make this place just far more generative and, you know, dark, uh,
it's one of these places that, that fits.
The, um, description of sunny place for shady people?
Bret Easton Ellis: Well, that's what I thought about a lot when I was
growing up out here in the seventies.
Right.
And particularly in the early eighties, um, uh, when, uh, for example, Venice
is a, is a good place to start.
I mean, Venice in the seventies was, um, slum, dark varied, dark place.
You didn't go to Venice after night.
Uh, you didn't even go to the Venice during the day.
But I remember they started opening a few restaurants.
There were a few art galleries.
Uh, I remember at 72 market street was one of the first, very first restaurants,
a very upscale kind of piano bar restaurant in a kind of derelict alley.
And there was something kind of very Los Angeles about that.
Very thrilling right off beach.
And, um, And Los Angeles really does have the kind of imagination that allows
that to open there and then flourish into other restaurants, began opening.
I remember Wolfgang puck opened shin WAM on, on I think, main street.
And then everything kind of started to flower out of that, but that
was not unusual because I remember.
A lot of times there would be, especially as a club kid and go into
a lot of clubs, you go to these really cool chic clubs in the sleaziest
parts of downtown in the, the lower, lower reaches of Wilshire Boulevard.
And, um, there was just something kind of fabulous about an environment
that allowed all of this to kind of coexist and, uh, you know, Melrose for
example, was a place, a strip that I spent a lot of my adolescents on, and
they were very high end stores next to, you know, discount clothing stores
next to vintage sunglasses stores next to the seediest bar imaginable.
And the fact that all of this could coexistence on a block
was really thrilling to me.
And you know, it just didn't exist anywhere else that I've lived.
Uh, in the world and it's something that I still appreciate, uh, about
the city though, of course, LA I think like all places now to a degree, and I
don't want to grossly generalize about it, but you know, we're sitting here
in a Hollywood basically, uh, in a new-ish high rise and all around us is.
Massive construction.
Yeah, they're high rises going up all around Coalinga, all around
coal, right by the ArcLight theater here and sunset Boulevard.
The sunset Boulevard from my childhood is kind of gone and has become a
corridor, not unlike some of the canyons of Manhattan and not unlike
the Wilshire corridor in a lot of ways.
There is massive expansion and massive building here.
And also done on that, on that kind of global style free a zone that is
so popular wherever you go now around the world where you'll, I mean, I know
they just redid 'em few years ago, they redid, uh, the Bel air hotels.
Restaurant and bar, which was one of the more fabulous enclaves here.
A very mysterious you'd walk through a forest over a pond.
I guess they were ducks or geese, swans.
They were swans.
And then you'd enter into this mysterious.
A dark dark bar from out of the thirties and a very kind of charming, conservative
dining room, um, very, very old school.
And when they re when they did the resign, uh, redesign, it basically
looked like any airport restaurant in.
Finland or in, in London or wherever it just something's happening.
And as someone who tours a lot, uh, I see it all over the place as
kind of global style taking over and the, and the restaurant, the
bar, the Bellaire, uh, now resemble.
Pretty much everywhere else as does.
If we're talking about this, a Spargo in Beverly Hills was Wolfgang puck recently
felt he had to re redesign in the same anonymous global style, you know, uh, kind
of already black and white photographs.
Um, uh, these futuristic like Tiki torches.
I don't know.
Um, so the LA that I think you and I are referencing and that you
can still find a pockets around here, um, is like everywhere else.
It seems, uh, kind of feeding into the new.
Generic global.
Eric Weinstein: And in a way, I sort of agree with this.
However, uh, I've been coming here, um, visiting in hotels and there are
ways in which the old weirdness of LA keeps sort of, you know, like,
like the Rose in Spanish, Harlem popping through the concretes that
sort of dark underbelly does a recur.
So I was just for example, at this, um, Is it the Saddleback ranch, which, uh,
has a mechanical bull on sunset strip.
Right.
And I was at a table and a lovely looking young woman says, you know, do
you mind if I sit down and that sort of thought that was odd seeding alone.
She's like really quite complementary, very friendly.
I just turned to her and I said, are you a working girl?
And she says, yes.
How would you like to go back to the hotel?
And I said, why are you doing this?
And she turned to me and she said, well, I've just got my real estate license, but
unfortunately this month is a little slow.
And I just thought, well, that's a conversation.
That's not so easy to have anywhere in the world.
Bret Easton Ellis: No, it's not.
And it reminds me a lot of Hollywood and it reminds me a lot of, a lot of actors,
uh, that I met out here when I was.
Casting a couple of big projects.
Um, yeah, that is very much an LA thing.
This sort of gay for pay hookup culture.
Sure.
Right.
That is big among actors.
We are in terms of the, you know, the bartending gig didn't work
out, they're auditioning tomorrow.
They, you know, they really need some cash and, um, yeah.
LA operates.
But Ellie has always operated that way.
I wrote a novel about it and less than zero, there is, um, uh, ways
that kids can make, uh, payback they're drug dealers, and I'm one
of them is prostituting themselves.
And I had heard stories when I was at Buckley about a couple of, uh, Brothers.
I knew who, if not exactly having sex with older men, you know, a little teasy,
maybe they strip, maybe they'd put on a little bit of a show, not necessarily have
sex with, but there's always been this
Eric Weinstein: kind of gray area between sex.
Bret Easton Ellis: Well, also
Eric Weinstein: class class listening,
Bret Easton Ellis: you know, also I was talking to very big mogul, huge mogul, uh,
Well, and I was in a conversation, uh, at.
Cocktail party.
And someone asked me, uh, where do you think the best looking people are?
And I said, well, I think, I don't think, yeah, Italy, Sweden.
And then this mogul who's over listening and said it's LA LA Angeles.
This person's very intelligent.
Has very good taste.
Insanely wealthy and I thought about it and I now believe that's true.
So this intersection of money, sex whoring is it almost feels
like an inevitable thing.
And I've written about this twice and I, and I'm just kind of realizing this now or
remembering this right now in this moment.
Not that I.
You know, I, I don't think about this all the time is that both of the narratives
of my two LA novels, less than zero, and then 25 years later, I wrote a sequel
to a called Imperial bedrooms where we kind of figure out where everyone's
landed after they were 18, both center around the center, this the central
metaphor of prostitution in a way.
And that, and beauty and.
Money and that these, with the things that seem so suggested
to me about LA, I don't know.
It means it, it, it ties back into the entertainment industry.
It ties back into exploitation,
Eric Weinstein: right.
Bret Easton Ellis: And exploiting beauty and.
Youth and a certain kind of, uh, handsomeness, if you're a man and a
certain kind of beauty, if you're a woman and that also being for so many
people, um, their, uh, their calling card, uh, it's what they really depend on.
I remember talking to a very good looking actor and, uh, someone that
made a joke about, Oh, it's not going to be fun to see you get old.
And just in this broey to end, he was devastated.
Absolutely devastated completely.
And that, um, I don't know, that kind of mentality, um, really
becomes the emotional basis for the town in so many ways.
So it's not, it's not strange.
That happens because there is that, that intersection of, you
know, beauty money exploitation is just, you know, it lends itself.
It lends itself to war,
Eric Weinstein: right?
Well, this is, this is, um, this is the thing.
LA really does.
In some sense, live it's new or at a level that would be fictional somewhere else.
I mean, I think about, so there's this very strange coincidence that you and I
came from essentially the exact same Milu we both graduated high school in 1982.
Yes, we were both at.
In the same sort of private school mill you, I believe that we knew
people in common, although I've forgotten who they, who they might be.
And I very much had the sense that when less than zero debuted, that you
would privatized my childhood and that
Bret Easton Ellis: it was this,
Eric Weinstein: it was this period, which if somebody hadn't written
about it would never be believed.
Bret Easton Ellis: And it.
Eric Weinstein: The reason I'm trying to get at this, I guess, is
that I think it had an importance that we didn't understand while
we were living through it.
So I wanted to try some theories with you because I think that you
are, since the poet Laureate of.
Whatever this firmament was, um, which is sort of Los Angeles, gen X.
And then I'll tie it back if, if, if successful to, um, to what I
think its significance is for us now, because I don't, I think it's
underrated, um, as, as a sort of a point of departure with the past.
So I guess what my theory is, Is that, um, if you look out at this backdrop
behind, behind us, imagine a neutron bomb went off, which was the divorce bomb.
And it started with no fault divorce in 1970 with Ronald Reagan who himself was
divorced, signing this thing into law.
And if you look at a graph of like divorce rates per.
Um, you know, whatever a thousand women it's got this weird sort
of it's declining, declining, declining, and it just skyrockets
for the entire 1970s before it starts with wanting to decline again.
And we lived through this.
Yes.
Well, I'm asking, do you remember that suddenly, like everybody's parents
were on the rocks that suddenly the parents disappeared, that there were
like children supposedly of privilege roaming the streets and that it was.
Really dark.
Bret Easton Ellis: I, well, that's a lot.
Um, and my sister,
Eric Weinstein: no,
Bret Easton Ellis: no, certainly remember, um, a lot of divorces, uh,
becoming much more aware of them as I entered into junior high school.
Uh, my parents' marriage was very strained by the time I was 15 and I realized
that they were going to split, uh, My sisters and I were however relieved
because there was so much tension in the house caused by numerous things.
My, including my father's alcoholism.
So that was the, the divorce wasn't the problem.
The marriage was the problem.
So that was so I.
The darkness.
And I have to say, as a teenager, I wished that I had, and I did too.
Enjoy this mill you much more than I did, but I was an
alienated kid and I was haunted.
Uh, one of the reasons I was so alienated, it was, I was gay, which was
V even living in liberal Los Angeles.
In 1980, 81, even when it seemed gayness was in the culture and announcing
itself in specific ways with whether it was David Bowie or Prince or American
gigolo or Calvin Klein advertisements, you still weren't out as a teenager.
And so that alienates you and you begin to see the world in a slightly darker place.
Or I think you begin to see the world.
As it really is.
You see through the facade of it, um, uh, you see through kind of the poses everyone
is making in order to get through.
And you, you really see the lie of high school in so many ways when
you're gay and you're standing on the sideline and no song is about
you and no movie is about you and you have to kind of reprocess everything.
So that was a bit of the darkness of my, uh, LA experience divorce.
Sure.
Um, But, um, I think that for me, it was, it was, uh, Being gay and being a writer.
I didn't know anyone else that was writing a novel.
I hadn't written one already when I was 13 or 14.
And those two things really did separate me from the rest of the crowd.
Um, it's not to say that I didn't participate.
I went to parties.
I even had a girlfriend.
Um, I went to the beach.
I had my group of close male friends.
I danced at parties
Eric Weinstein: at what point?
Always or six.
Bret Easton Ellis: Got it.
Seven.
Yeah.
Um, and it was nothing that ever, uh, I ever agonized over.
It was something I just kind of accepted and said, okay, this is another
thing that I've got to deal with.
How am I going to navigate through this?
And it really was never something that tortured me or I felt I had to like.
Tell other people or come out to anybody.
So I had a very even keel acceptance of that.
Um, but it does separate you, you are only 4% of the population.
There isn't a large pool of, you know, of other people like that.
Um, so that was, that was my burden in a way, but, um, uh, I also did it there,
there was a kind of darkness in LA in the late seventies and into the early
eighties, I felt it, I saw it in music.
I saw it as a kind of, it was minimalism.
And it was a kind of numbness that was being explored in a lot of the art and
a lot of the music, certainly in part of the punk scene and in the new wave scene.
Um, but it was a numbness that had a fever lean as well.
It was numbness as a feeling.
This is beauty and I completely, that to me was what.
Influence less than zero.
This notion that numbness was a feeling and that numbness was something that
you could enter into and, and play with and try to express in some ways.
And that was where I was at in my late teenage years.
In LA, that was what was on my mind all the time.
And that's what influenced the style and the tone of lesson zero.
If that makes any sense,
Eric Weinstein: this is the weird thing about it.
I've never heard anyone say this numbness is home to me.
Like there's a weird way.
Uh, I found myself driving the Ventura freeway, uh, After college.
And I had gone to some party that hadn't quite worked out.
Aaron was unclear what the address was and whether somebody was squatting
in somebody else's, I think had all of these weird characteristics and
the emptiness just washed over me.
And I think Tom petty was playing on the, on the radio and
I just felt I'm totally numb.
I'm completely alienated.
And I feel completely home.
Bret Easton Ellis: That is what I felt, but I do think that might be
very specific to our generation.
So
Eric Weinstein: that's, I think our generation is weirdly.
The key to a lot of what we see going on in general, but because our generation
is also invisible and because this place had very different characteristics, I
do see it that there's a little bit, you know, the, the portal theme here has to
do with trying to figure out how do we get out of all of these mysteries that
we're trapped within and culturally, and in part, my belief is that LA pushed
out a lot of this kind of nihilism.
To the world, um, wouldn't easily travel.
And so you were talking about music before.
I remember being very cute into this band X.
Yes.
And X, I thought it was going to be huge.
It was a huge mistake on my part
Bret Easton Ellis: of mine too.
Eric Weinstein: And.
How could it not be, they were witty.
They had these weird harmonies.
I think that happened in fourths between John DOE and Z
Bret Easton Ellis: Billy zoom.
Billy zoom was ETA bone
Eric Weinstein: Carice the, the drummer.
Yeah, but they get, so do you remember the song?
Uh, their big hit regionally was the song.
Johnny hit and run Pauline
Bret Easton Ellis: horse.
I did off the Los Angeles LP
Eric Weinstein: right now.
This song.
Did you remember the loop?
Like the lyrics, how it goes?
Bret Easton Ellis: Um, vaguely, you gotta
Eric Weinstein: remind you to sterilize hypo, shoot a sex
machine drugs about cereal.
He's got a rape 24 women in 24 hours.
And the last one wouldn't cooperate.
This thing is so.
Off it's so dark, it's so completely wrong.
And it felt normal for Los Angeles at the time.
Yeah.
And it was like this massive miscalculation that first of all, no
fault divorce hadn't happened nationwide.
Like in New York, it doesn't happen until really late.
Bret Easton Ellis: Right.
And
Eric Weinstein: so there was something about this period that,
um, was highly regional, but also was being broadcast everywhere,
uh, even in kind of cryptic ways.
And I think that your book probably less than zero probably looked
kind of like wildly, weirdly exaggerated to the outside world.
I don't think it was that exaggerated.
Bret Easton Ellis: Well look, certainly there were things in it
that I wanted to do as a writer.
I certainly did not see a 12 year old girl get gang raped, which happens
near the end of the book and where it's treated as just as natural as.
Stubbing your toe or something to come across, something like
Eric Weinstein: that.
And isn't, there's something about where people are hanging out with.
I mean,
Bret Easton Ellis: well, now that was based on something that I had heard
there, there, there wasn't story going around that there had been this
person who to, Oh, deed in an alley.
Mm.
Uh, I think somewhere along Melrose, this rumor went around in 1981, 82,
and that kids just were brought to see the body of another kid and people
had heard about it and someone would meet someone up at a party because
of course, remember there was.
No cell phones then, and then people would come over, find the space
and just gawk at this dead body.
Um, and that is a scene in less than zero, but, um, overall I really did try
to make it seem as realistic as possible.
Uh, and almost as if it was journalism almost as if it was repertory that
clay, the narrator of the book, uh, was.
Really, um, describing the world.
He was a part of, but not necessarily describing what his emotions were
and all of the things he was feeling during that time, you understood that
he was very detached and alienated because he never talked about himself.
And he just described what his friends would say.
He just described what he would see, what he would be seen.
And I think part of why the book works for people is that this voice never varies.
As the book gets darker and more violent and nightmarish in a way.
So there, you know, I guess that's yeah.
What I was aiming for when I was riding it to find that
kind of accumulation of power.
By resisting hyperbole and then describing everything in a very flat I'm away.
And of course, writers in the past had done this, but transposing that into a
contemporary teenager, living in a big city, uh, was something that I hadn't seen
before teenagers in who were narrating novels were usually very emotional.
Uh, look going back to, um, the, the few that there were.
Whether you were going to Judy bloom, or whether you going back to
the granddaddy of the mall, right.
I wanted to do kind of the anti.
Catch with the Ryan that way.
But I think I drifted away from your question, which was kind of about,
I mean, first of all, getting back to X, they were part of the reason
that they didn't fully work as a band was that they didn't have hits.
They kept each subsequent studio album from, uh, Los
Angeles to, I guess, adult toys.
Eric Weinstein: Yeah.
Bret Easton Ellis: To, uh, under the big black sun.
And then I think it was the eight love grand was their stab
at MTV kind of a commercial
Eric Weinstein: record.
The story then
Bret Easton Ellis: after under the big black Sunday, I thought that
was my favorite of the, of the, of the three records that had been
even more so than Los Angeles.
There's the, you could see that the songwriting was.
Kind of moving away from the, uh, really kind of rough, uh, speed rock of Los
Angeles and entering into a kind of more thoughtful kind of song writing.
But for some, for whatever reason, they never really broke.
And, uh, I think, I think that, um, they were a huge impact
influence on less than zero.
One of the epigraphs and less than zero is from.
Ex.
So I was obviously thinking about them, but it was also thinking about
led Zeppelin because let's pull in is also the other epigraph in lesson
zero, but exaggerated, I don't know.
Look, I, as I said to you earlier, I really ran with that story.
I.
Uh, heard and I, so new parts of, from a couple of boys who were living on
their own, actually in Beverly Hills who were not staying out of Malibu, they're
divorced, dad couldn't deal with them.
And they got an apartment in town as 17 year olds, or the
father had rented it for them.
And.
I often wondered how they had such nice clothes, how they were able
to go to this place or that place.
And it was interesting because I look at that they knew a guy named Ronnie
Lee Levine who was murdered by Joe Hunt of the billionaires boys club.
Uh, is it Levina 11 Ronald.
It was 11.
Right?
Eric Weinstein: I should know this.
This was my high school.
Cool.
Bret Easton Ellis: And so I got to know Ron Levin through these kids were all 16.
And I remember this just goes to give you an idea.
Of what my adolescence was like.
Uh, we would congregate because we all had cars at Ron Levins and have
drinks in Ron Levin's living room.
And then Ron Levin would pour us all into his convertible rolls Royce.
And we would all, he would drive us to flippers, which was a
roller rink kind of bar disco.
That's on the corner of Los sciatica and.
Uh, Santa Monica Boulevard that is now a CVS.
We will, by the way, this is a weeknight.
This is a school night.
And so we would go with Ron to his booth.
Ron, must've been, I guess, 48, 47 maybe.
And he was gay.
Very, definitely gay.
And he would have six, 16 year old boys sitting with them at a booth.
Flippers was all ages.
By the way, there were a couple of clubs around town that were all ages.
He didn't need to be 18 to get into some of these.
Eric Weinstein: They were just shortstop.
I left this town when I was 16.
And when I think about all of the stories that I had in clubs and bars,
they have to be 16 and earlier, and it doesn't make any sense to me.
Bret Easton Ellis: Um, look, I guess the drinking age was 18 in LA.
It didn't move to 21 until I think the mid eighties, it was always
a look I got into when I was 16 in LA, I got into everywhere.
I got into bars.
I was ordered drinks.
Uh, I could get into the whiskey on a weeknight.
Um, I never.
And all my friends did too.
I never remember having any problems with getting carded or anything,
anything along those lines.
Eric Weinstein: Right?
Like somebody would always know somebody, the place was totally fluid.
And th the, I mean, I want you to keep,
Bret Easton Ellis: keep up with 11th story.
Sorry about that.
There's nothing else about the loving story.
It's just, it gives you an idea and maybe there was a little cocaine involved, but
that just gives you an a, and that looked must've been 1980, 1981 that kind of
just gives you an idea and all and all.
Nobody was damaged.
None of us were triggered.
None of us thought we had to go to the police.
None of everyone.
Eric Weinstein: Okay.
But true.
But how many funerals did you go to back in the day?
Bret Easton Ellis: I have to tell you.
I didn't know.
I didn't go to any.
Okay.
I didn't, I mean, look, I mean, compared to now yeah.
In terms of
Eric Weinstein: emergency rooms, I mean, maybe funerals wasn't that much,
but there were all, this was not cheap.
It wasn't that everybody was fine at the end of it.
Bret Easton Ellis: No, but I do think comparatively, there was a kind
of gen X resiliency and strength,
Eric Weinstein: which is what I want to get to.
Bret Easton Ellis: Okay.
But I do, I think there is, and I think that we, we're not wimps.
Let's just put it that way.
You know, I sure.
I knew people, you know, you have to understand drug problems.
I, we didn't really know what that was in 1981 or 82.
I didn't have friends who had outsize drug problems and I really never heard of rehab
Eric Weinstein: poor, doing amazing quantities of drugs, and then going off to
Yale and Princeton and Stanford of course,
Bret Easton Ellis: or, or UCLA.
A lot of them went, but, um, you know, the notion that no one believed
you could get addicted to cocaine.
No one really believed that.
Look, I don't know if I've ever known anyone who's been addicted
to cocaine either, but back in high school, look, the other thing that
I hadn't got to say is that, and by the way, the 11 stories finished that
I just wanted to see nothing else.
Well, ultimately what happened, Ron Levin got murdered by Joe Hunt,
which is a whole other story, but
Eric Weinstein: I don't want to lead over that.
We've just had put a Quentin Tarantino released once upon a time in Hollywood.
It's the story leading up to the Manson murders, where with an alternate.
Ending.
Yes.
And I guess for me, I was thinking back to this very, um, I don't know
whether Joan Didion's writings move you, but they've moved me a great deal.
Bret Easton Ellis: She was perhaps the biggest influence on
less than zero and my writing.
Okay.
Eric Weinstein: So when I read, I think it's the white album where
she's talking about how the, the, the sixties and spiritually
with the murders on Cielo drive.
And, you know, she writes with this just exquisite prose and it's so it's so
perfect for this in a city that thinks about earthquakes and Canyon fires.
She says, you know, that the rumors spread like wildfire in the Hollywood
Hills or something like this, it's just dripping with this gorgeous analogy.
And I thought about that.
And then I thought about how, how that gives way to the seventies
and the seventies is this period.
That's like the golden age of serial killers is, uh, and then you, you end
up with like this very weird concept of privilege, which is one of the reasons
that the millennials concept of privilege absolutely doesn't work for me where you
have like these very privileged schools.
And you have a murderous club of investors who somehow the kids are just
not happy with their station in life.
And, you know, there are these schemes maybe to kill parents and,
Bret Easton Ellis: you know, you get the
Eric Weinstein: Menendez brothers and I get the feeling that her
feeling is that things ended with the murders on Cielo drive and our
story, like just getting started.
In some weird way that sixties versus the seventies is a big
shift because the sixties had this horror and idealism fused together.
And the seventies that the sort of the idealism just drops out.
But the horror keeps going.
Bret Easton Ellis: Yes.
I think you said something about, that's very interesting about, um, living here.
Maybe you didn't say it, maybe I'm I'm taking what you said in some
less, um, about how I think me and my peers were very aware that we were
living in a, in a particular time.
That was a kind of movie.
And that was youth culture, uh, of the early eighties really
seemed to be centered in LA.
You saw it in all of the movies from fast times to Valley girl, to
the music that was being made to the Go-Go's being thrown out there.
Um, there, there was this sense that we were at the red hot center
of youth culture in Los Angeles.
In say 1982, certainly look
Eric Weinstein: less than some echo of like Jim Carroll on the opposite coast.
Bret Easton Ellis: Yeah, I guess so.
But there was something more interestingly contradicting about Los
Angeles or something, you know, the darkness and the beach and whatever.
I mean, it was this ying yang thing.
And so.
Um, very being very aware of that, of course adds, um, I don't know, a kind of
artificiality about the way you interacted with people and the way they behave.
Now, I'm saying this not on a completely literal level.
I'm saying this just an overall sense of that.
A costume, your car.
The decor of a nightclub that you would walk into and be very aware that this
was the place, just the staginess.
This really goes back to what you first talked about at LA as.
This stage is movie set, sunset Boulevard, uh, cruising around Mulholland drive,
going up to mom to get high, the beach, the beach, such a huge part of
your Southern California childhood.
Um, but that's also not to say that to move it out for a little bit.
But you said this about the East coast.
I felt that time for the East coast wasn't necessarily the late seventies complete.
I think it comes in.
Well, for me, I felt I was never more in a movie that I was during the yuppie
years of the late eighties in New York, right before the crash, 1997.
And that to me, and even afterwards the crash didn't really change or
alter the way New York operated, but 87, 88, 89 Manhattan to me
was something as evocative as.
The roaring twenties or the swinging sixties of London, you were very aware.
Eric Weinstein: When was it?
Gordon gecko?
Bret Easton Ellis: 87.
Eric Weinstein: Okay.
So you're moving with the party you see for my trajectory was I I'm in
the same firm with you in Los Angeles.
Then I go to college on the East coast and suddenly it occurs to me that the
East coast has not gone through this.
They are having like, people are getting drunk on cold duck for the first time.
And I'm thinking that's so cute.
Right.
Bret Easton Ellis: Um, because we were drunk and cold duck in ninth grade.
But anyway, I mean, I mean, Yeah.
I mean, I wasn't conscious of.
Wanting to chase the scene, but I don't know how you felt, but I felt
growing up here, which really now in retrospect was kind of glorious growing
up as a teenager in LA is like kidding.
Fantastic is the worst thing
Eric Weinstein: ever.
This is so interesting for writers.
You're able to do
Bret Easton Ellis: something I wrote less than zero, which is
a complete, that was it kind of.
Yes.
But there, there is also, I mean, I got to tell you, uh, Eric, that so many people.
Who read lessons?
There are so many kids loved it.
Because they want it to move here and want to be part of that.
So weird thing.
So it was cool.
Eric Weinstein: It wasn't supposed to be in some weird way,
Bret Easton Ellis: but
Eric Weinstein: when you have death and sex and money, people react and respond.
Memetically even if it's the most unhealthy thing,
Bret Easton Ellis: that's the best here.
The late seven Mondays here we are in the, in the late seventies
and into the early eighties.
Right?
But, um, I, uh, I lot completely lost my train of thought.
We won't talk in about, um, Oh yes.
I mean, less than zero was dark.
There was darkness around my.
The years that led up to me riding it.
But I also, when I was living here, I know what I wanted to say it, but
it, it, it had to do with the fact that in so many ways, I feel that
we were lucky to grow up out here.
Yes.
It had its disadvantages and its darkness, but looking back, I mean,
there, there were things about it that I like, and maybe I loved them.
At 17 and 18.
And you miss those two years of the massive freedom that one would have.
We weren't living out here in 17, 18, where you graduated at 16 and then
you went off or did you stay here?
Eric Weinstein: No, no, I was, I was, I, I was 16, turned 17 in
Philadelphia and then I was in Boston.
And what I found was that.
I mean, just to be, to be honest about it, I I've stayed away from the city
really for 37 years because I just thought it was the blackest darkest
most seductive hell hole, um, which it is, which it is, which it is, and
it can be, and it was generative.
I mean, and so, so that, that notion of repulsion.
And fascination and home and total alienation, it's been
impossible to talk about.
Um, because it's all these things that usually come bundled, uh, you know,
like home and support and meaning, and that bundling didn't happen.
And what I start, you know, if I think about the title of this film,
that you probably remember the decline of Western civilization about
like Darby crash and the cramps and the germs, all that kind of stuff.
That seemed like overblown.
And in many ways I actually think, well, whatever the thing is that is unraveling.
The American tapestry history was really present and visible early here
and that, and where I'm going to try to get to and see if you're willing.
And if you're, if you're not, that's fine too.
Um, one of the things that people may know me for is coining the phrase
or pushing it out, the intellectual dark web, which people don't.
No, I've never heard with all the comments, cherry and almost all the
commentary on the, on the IDW is bad commentary because it's the commentary
at trying to figure out who are these people without union cards and why
are they commenting on the world?
So that they're always trying to figure out some way of getting rid of this thing.
It was very much.
Two things.
It's an LA phenomenon to an extent that nobody has understood.
And it's a gen X phenomenon to an extent because gen X is invisible
to both boomers and millennials, millennials think that gen X
Bret Easton Ellis: is the boomer they do.
They do.
Eric Weinstein: And.
The idea that there is this in between generation.
That's not large enough to chant things and devote things into reality, but
is extremely generative, very robust.
And has this completely, I don't know how to say it.
You couldn't pick.
Um, two more different circumstances.
A ton paths gets kidnapped in New York, I guess in 1979.
And the milk carton kids start up and suddenly, almost overnight, all the
kids who are used to playing in the streets with no adults in sight are
brought indoors and things really change.
And somehow the millennials are brought up in that world.
Whereas.
As far as I can remember, I play back so many scenes from the
seventies and I can't see grownups, the moms in particular are absent.
Maybe the dads have been absent a long time.
Yeah.
But like the moms are somewhere else,
Bret Easton Ellis: but where were they?
Because I would say most of my friends, mothers didn't work.
So were, were they, were they up in their bedrooms?
Were they out having lunch with their friends?
Um, you remember,
Eric Weinstein: I mean, I remember some moms, but sometimes mom
was getting high with the kids.
I remember that was a particular mom.
There were moms who were looking for mr.
Goodbar.
Their moms were trying to find some self actualization and that the women's
movement promised maybe there's some new thing to do, but everybody was having
a hard time finding what that was.
Bret Easton Ellis: Right.
I think getting back to one thing you said before we move on to that, is
that, um, the real darkness for me, uh, had to do with, um, the Manson
family and the Manson family haunted my childhood and my adolescence, and
still haunts my notion of Los Angeles.
So if I had to choose something that.
I fixated on and honestly became obsessed by were the Tate LaBianca
murders and the Manson family.
And that book that Vincent Bugliosi wrote about the case Helter Skelter was
kind of like a strange Bible for me.
And it became kind of a dark touchstone.
Um, yes, they're there.
I still saw it.
And I was still in a group of people who were trying to have fun
when I was in adolescence in LA.
And especially when we were free with our cars and basically free from our
parents and had that kind of, um, a sense of, I don't know, ascendancy
or able to go anywhere we wanted to, um, It erased some of the darkness.
I mean, I, there, there was a lot of opportunity to have fun out here.
Um, but I also have to say, and this, I think connects more with what, uh,
in a way what your trajectory was.
I wanted to get out.
I did not want to stay here.
Oh, so you okay.
I wanted to get out and I knew at.
14.
I wanted to get out and I had to wait for the plan to happen because when
I was 18, boom, I was going to go as far away from here as possible.
I did ultimately feel, I think what you felt, I felt like beneath the
facade of beautiful teenagers and, you know, lovely setting and nice houses.
That there was, um, a darkness that was encroaching upon everything.
And it really, I really did notice it much more strongly after I'd left for a year.
And I came back after Ashley left for five or six months and came back
after I went to college for my first term, but that was always the plan.
I remember seeing so many movies that took place in New York,
even if they were dark as hell.
I wanted to go there.
And I remember seeing Woody Allen's Manhattan, for example, and then
that's where I'm going to be.
I'm going to be in that world.
I mean, now, That world nauseates me.
But at the time I was 14 or 15, that was the goal.
And I was going to go to college back East, and then I
was going to move to New York.
All of my friends stayed out here.
All of my friends were going to get into the film business
because that's what LA is.
I mean, in certain, if you live in a certain area of LA is a company
town and you end up, you know, working for the company, which
is the entertainment complex.
And that is what happened.
My four closest male friends, all got into the business really.
And, um, That was what I was supposed to be doing too, because, um, we
were all making movies and writing scripts when we were teenagers and
all of our fathers, mine accepted were somehow involved in the industry and
that was going to be the next move.
Um, and it just.
I was writing novels and I was working on less than zero
when I was 17, 18, 16, 17, 18.
And I knew I had to get up.
I don't know.
You must have felt that to some degree, uh, in order to, I mean, I
don't know if the escape was your.
Choice, but the escape from LA was certainly mine.
I only, um, applied to colleges back East and, um, and so, uh, so
I knew senior year that this was going to be over at a certain point.
And that summer of 82, I just could not wait
Eric Weinstein: for it to, well, that's the thing.
I mean, that.
We, we were, we were living through a, something that I think
hasn't been understood or digested in terms of its importance.
And I think that if you think about,
Bret Easton Ellis: well, it's being resisted, I talk about it all the time.
Yeah.
And it's being resisted.
People don't want to believe that this happened and that we were were okay.
They weren't
Eric Weinstein: contradicts.
It contradicts what I've called the gated institutional narrative, that
there is this thing where the New York times is talking to the political
parties is talking to the universities and they've settled on this thing.
That's completely wrong.
It's a narrative, it's a narrative.
And the narrative has been cracking.
And we have this funny thing, which I heard you, uh, talking about being an
anti anti Trumper, where the idea is that you have Trump and the Trumpers.
Yeah.
Then you have the anti Trumpers, who are the people who are completely
deranged by any mention of Trump?
Would he ever, he said
Bret Easton Ellis: my partner, my boyfriend, yeah.
Your boyfriend is a millennial.
He's a millennial.
And he, as he is, uh, he has had a Trump derangement syndrome, uh, since the
election and yet, uh, Eric, he is losing that and he is just simply becoming.
An anti-Trump
Eric Weinstein: well, because, well, no, sir.
I don't think that that's fair, sir.
My belief is that.
If you were an anti anti Trumper, I am an anti anti anti Trumper.
That is, I am against Trump.
Bret Easton Ellis: Right.
But
Eric Weinstein: mere mention of his name.
Doesn't send me into paroxysms.
I don't write, I'm not apoplectic with rage.
When he said something that's been carefully constructed to set everybody
off who carries certain behavior pattern.
Right.
And so what my belief is is that I'm going through a very private, weird little mini
hell in which I intellectually can't.
Stand the guy, but I understand him very well.
Yes.
I understand why it works.
I've predicted this in some weird way.
I wrote an essay on cafe, but I don't know if you've
Bret Easton Ellis: I do.
Yes.
Yeah.
That you were one of the people actually suggested he could win.
It was at you.
Eric Weinstein: Yep.
Okay.
I just had two more Koran on the program.
I thought everyone was lying about their feelings about Trump
Bret Easton Ellis: when they were asked about it.
Eric Weinstein: Public well, because you, you need it.
You needed to say how horrible he was.
If you were part of the institutional mill you, or if you needed to keep a job
and make sure that you weren't on the wrong side of your clients and what, what
has been, what I find very frustrating.
I mean, you have to appreciate the mainstream has no positive interest
in this show me or anything that my group is doing whatsoever.
Right?
Yeah.
And it's, it's not just, I mean, it's the fact that we have
this very negative view of CNN.
And NPR, not what they're supposedly standing
Bret Easton Ellis: for.
Eric Weinstein: Right?
Right.
So this, in this narrative, um, you know, I guess what my take on it is
is that the dominant, um, I don't even know how to say idealism of a
time is usually a false narrative.
That's hiding how people can make money during that period of time.
Right?
So we are, the world is a portrayal of concern about Africa, the poor in Asia.
What can we do to uplift people?
But really it was a story about if we don't break our bonds to our
fellow countrymen, if we don't.
Make sure that we can not have to take care of Appalachia and
the poor and the South and the downtrodden in our inner cities.
Um, We're not going to be able to make money.
The way to make money is to move operations overseas, to keep your,
your, you know, your, your country, um, with its headquarters, wherever
it's tax advantaged, there was some process by which globalization was
the betrayal of your countrymen.
Right.
And.
That thing was portrayed as the Davos idealism.
Yeah.
And the Davos idealism is cratering.
Yeah.
Because it was a wealth transfer program posing as a philanthropic effort.
Right.
And so the reason that nobody wants the Clintons, nobody
wants the democratic party.
Nobody wants the sanctimonious nonsense, uh, about, you know,
our thirst for justice in our hatred of oppression is, is that.
This is a search for a constituency.
That's large enough to get people elected who can continue
to keep people making money.
Who've been figuring out how to make money and Trump, the reason I'm anti Trump
is, is that he's taking lots of ideas that are actually originally wholesome
and he's giving them this shitty kind of
Bret Easton Ellis: mean
Eric Weinstein: spirited, nasty
Bret Easton Ellis: spin.
Eric Weinstein: Like for example, there's nothing wrong with restriction ism.
Whatsoever.
There's nothing xenophobic about restriction, right?
The desire to want to keep a border is not as xenophobic early.
Bret Easton Ellis: I completely agree.
Eric Weinstein: Okay.
So when he tinges, is it with hints?
You know, he's playing around with something.
He knows what the inference patterns of the left are.
So he'll say something and the left will say, Oh my God, you're
really saying that, you know, you think all Mexicans are rapists
Bret Easton Ellis: and then the writer's fault is that pardon me?
I mean, whose fault is that?
I mean, that's the left's fault for taking the bait or overreact?
Eric Weinstein: No, it's not that they figured out.
A means of keeping people in line.
Whereas as you start to explore something that will stop the moneymaking,
the transfer of wealth from whoever it's like forced transfusion, right?
The institutional left, I believe figures out how to transfuse one
group, uh, to supply blood to another.
And.
What, what the left is supposed to be something, you know, more wholesome and
more decent as you start to question the transfusion, you start to get, surely
you're not suggesting that we should close our borders to the downtrodden.
That's right.
And Trump is saying, yeah, I'm not scared.
I'm not going to, you're not going to back me off by just saying that
surely you, weren't saying, you know, that's a menacing tone and.
For that many people love him because do you remember the scene in
reservoir dogs of Tarantino where.
Um, you've got, I guess, is it Steve Buscemi?
And I can't remember the other actor, uh, where they're trying
to figure who the rat is and mr.
Blonde comes in and mr.
Blonde is the psychopath has shot up the jewelry store and they can't
figure out who they can trust.
The only person you can trust is the psychopath because the
psychopath isn't under control.
Right?
Well, Trump came through as mr.
Blonde.
And the one person we know isn't under institutional control is Donald Trump,
because he would never say those things.
Bret Easton Ellis: Yeah.
Eric Weinstein: Okay.
So now we've got a new paradigm where the only trustworthy person
is the least trustworthy person,
Bret Easton Ellis: which
Eric Weinstein: I've been trying to map this out.
And the problem with it is you can't wake people up because they're dying to
get back to the process of making money by betraying their fellow countrymen.
They, they really, the globalization thing came to an end.
There's no new idea about how to make money.
Right.
And the pyramid schemes are collapsing.
Bret Easton Ellis: Right.
So what's going to happen.
Eric Weinstein: Well, that's what I'm, that's why you're on the portal, sir.
Bret Easton Ellis: Mmm.
Well look getting to that.
Um, getting back to what you said in terms of, uh, uh, threatened name of the
book, it was about preference versus, uh,
Eric Weinstein: uh, public private truths, public lies.
Right?
Bret Easton Ellis: Um, I knew a lot of these people I wrote about them in white.
I write a section of the book is about the mood in Los Angeles,
uh, in the months leading up to.
The primaries and then to the election and then after the election,
and it is a cast of my usual.
Entitled characters, even though this is a work of nonfiction and many of these
conversations play out in the polo lounge, like they do in my LA novels with irony.
Yeah.
Rich people who cannot believe that things did not go their way,
which is also something that's lesson zero in a Bureau bedrooms.
So even the white is a nonfiction Chronicle of whatever, uh,
kind of the arc of a gen exer.
I see it, it starts out in the.
Late sixties, early seventies with me as a child.
And then I'm standing, uh, you know, with my Dick in my hand, in
the summer of 2018 going, I can't say this, I can't express myself.
This was freedom of speech.
It just, it seems to be, and I'm much more upset about it
than my millennial boyfriend.
Who's used to rules.
He's used to all the rules that have been
Eric Weinstein: maddening.
I can't live.
Like
Bret Easton Ellis: I know I can't live like this either, but anyways,
so I, I knew these people once Angeles, I knew the Obama Trump voter.
I knew many of them who were making that jump.
And I just sense something different by little looking at everything.
Then my millennial boyfriend did, who was already printing out his Hillary
t-shirts and you know, uh, can't couldn't wait for the, he had his lashings.
No, he's a Bernie, Bernie.
He was a Bernie guy, a Bernie Sanders guy, and he.
Held his nose I'm voting for Clinton, but anything but Trump, because
Trump drove him insane and there was just no fucking way that Trump
could be, uh, elected president.
So that was all going to be.
Um, but you know, so I did, and I, and I write about this in white.
Uh, people said, don't tell anybody I'm going to vote for Trump.
Uh, don't tell anybody I'm voting for Trump.
And, um, so.
Uh, I wasn't completely surprised when Trump won, but in, but what surprised
me and this ties into what you were first asking, what completely surprised
me for the next two years leading up to now is how so many of my smart
friends, uh, became infected by Trump.
Well, look
Eric Weinstein: the most, say more of what you mean by that.
Bret Easton Ellis: W well look, all of our narratives, we have been forced.
To deal with Trump.
I talked about this in an interview that I gave with the Washington post, where,
uh, I, even, if you don't want Trump in your life, he's in your life and you
have to have an opinion about him because everyone else is talking about him.
Either people loath and to such a degree, that you are sucked into the conversation.
And I believe it's the same with people who love him.
And I ju I know you're w w what was it?
Huge exhale.
What was that about?
Eric Weinstein: No, no I'm awake.
I'm with you.
I want to write an Eliza program.
I swear I could write a small program that generates his tweets.
Like, for example, before Trump, I had a simple idea, which is that
if I wanted to win an election as a Republican, all I would have to do
is to talk about the nuclear family.
And every educated person would say, you mean nuclear, not nuclear.
And then they'd lose.
It was like an automated reaction.
That there was a class thing that says correct.
Anyone who says nuclear.
Okay.
Well, that's a pretty simple program.
Yes.
You win the correct pronunciation of the word nuclear.
And you lose an election because you're a Dick, right?
So Trump is going to hit this thing over and over again, it's a, the
left is programmed to say certain things to defend certain things.
And you know, if you have to make the point that there is absolutely zero
connection whatsoever between Islam and terror, there is no connection whatsoever.
Zero it's an illusion.
Bret Easton Ellis: Okay.
Eric Weinstein: Somebody can hit that.
I mean all day long, every day, when I remember reading an issue of Dabiq put
out by ISIS where their point was, I think it was called, they had an article
called why we hate you, why we fight you.
And they said, you've marginalized.
All the people in your society who point out that there is an aspect of
fundamentalist, Jihadi, Islam that just hates you because you don't
believe in all of the way we do.
And because that couldn't be said,
Bret Easton Ellis: They couldn't be set.
I mean, that's why there's the break set
Eric Weinstein: there.
There was once upon a time, a heuristic that said the best way to have a
multicultural society is that you have to have some load bearing fictions.
Like all religions are equally problematic in all ways.
There's no way that's true.
Jane Jane's are not equally problematic as Jews, Jews are
more problematic than Janes.
And I'm able to say that because I'm Jewish.
Bret Easton Ellis: Yeah.
Eric Weinstein: As a result, those sharistics hardened into
dogmas because they were necessary to keep our society operating.
We have to believe at the moment that a jury of 12 people knows how
to convict somebody based on guilt, even though the DNA evidence shows
that that's not a real rubric.
Okay.
Well, I mean, it's a heuristic.
Maybe it, maybe it works some of the time.
Right?
Okay.
So as these sort of heuristics have been breaking down and these heuristics
of the left are on top of the ones that are necessary for civil society.
They, the desire to maintain this complex of ideas.
Like trade is always good.
No trade is not always good for all people that's, it's beyond moronic.
Right, right.
But it's only recently.
That you have economists like Brad DeLong saying actually it's a, so,
you know, the, the, what you're optimizing is a social Darwin.
Darwin is a function which trade is good for you based on the cube of your wealth.
So the richer you are by the cube of your wealth trade is good for you.
Right?
Well, Brad DeLong was also saying, and why are those everybody complaining
about the trade deals we inked since they helped people in Mexico as
if like American voters are gonna vote to help Mexican peasants.
I mean, it's great if.
Mexican peasants are helped, but I just don't see the lowest echelons of American
society having as their top priority, helping Mexicans with their vote.
I mean, none of this makes any effing sense,
Bret Easton Ellis: but then why aren't they deprogramming themselves because.
They're not going to move them forward, say in the new world order.
And that's the problem with Trump.
Trump presented something extremely new, uh, into the conversation and
the left couldn't deal with it.
The media couldn't deal with it.
I always felt that if they had kind of dealt with them in a neutral way
and just reported what he did without all this hyperbole, I don't know if
he would have one necessarily kind of
Eric Weinstein: all just smart, honest people.
Had to be rejected from the institutional layer
Bret Easton Ellis: terrifying.
Well, no, no,
Eric Weinstein: no.
It is your universal expulsion of people who will not go along with the gated
institutional and I, my, my theory about this, if you haven't met it is that we
grew very quickly in a very stable way.
That was totally anomalous post world war II to about 1972.
And every, the single institution that you see has an expectation
of that kind of growth continuing.
And so what happened is, is that all of those institutions, when they
went pathological, They became Ponzi schemes and you needed to have a group
of people in that institution who would not reveal the Ponzi scheme.
And so effectively our expert class has been selected for as the people
who will not blow the whistle on the fact that they're lying.
Right.
And so you can get this at Harvard, or you can get this at Stanford.
Maybe the university of Chicago is something of an exception
Bret Easton Ellis: Hollywood while
Eric Weinstein: Hollywood is right.
Exactly.
Bret Easton Ellis: Valley.
Eric Weinstein: And so all of these institutional things are
suffering from the embedded growth obligation disease or ego, right?
And so these egos have turned
Bret Easton Ellis: like the
Eric Weinstein: institutions are not interested in hearing how
to beat Trump because it's easy.
It's easy.
You see to be Trump.
It is.
But the only problem is is that if you beat Trump in the way, that's
easy to beat Trump, you will not service the people with second
and third homes in the Hamptons.
Right.
And so those people are saying, well, I wasn't thinking of spending
that much to beat Trump, right?
No, no, that's really,
Bret Easton Ellis: yeah.
Eric Weinstein: That's what the issue is.
Is that right now?
I, the exciting part is I want to retake the institutions.
Do you, do you really want nine conservative Supreme court justices?
If you do, if you want, if that's, if that's what excites
you, I highly recommend talking about reparations for slavery.
Why don't you tell some, some sort of a child Holocaust survivor that they
need to pay reparations for slavery.
See how that goes.
Bret Easton Ellis: Oh.
Eric Weinstein: I mean, this is insane.
We got some, you know, it is
Bret Easton Ellis: insane.
And
Eric Weinstein: self arm used to self hating Jews.
We've had that as an issue forever.
Right?
The self-hating American.
Oh man.
You know, just suck it up, man.
You okay.
So you were born with white skin.
Wait, what is D D D do you want it it's like watching people.
It's like watching a teenage girl on a cutting episode.
You're not responsible for every bad thing this country has ever done.
We're not going to write all wrongs.
It would be absolutely unjust to go after every past injustice.
And like, are we going to get rid of the arch of Titus in Rome?
Because the Romans sacked Jerusalem and it commemorates, you can see they're
carrying off like this giant menorah.
They stole our stuff, man.
Alright.
Let's tear down the arch of Titus.
Let's burn the merchant of Venice.
How deep do we want to go with this madness?
We're nuts.
Bret Easton Ellis: Well, uh, it needs what look, I think part of it.
Why?
Um, I'm very sensitive about this, is that because I am a gen
X or, uh, I think boomers, like my parents, like my mom, my stepdad,
Eric Weinstein: my parents
Bret Easton Ellis: born, uh, my father was born in Nevada and
my mother was born in Illinois.
Uh, they were born in the, you know, technically not
Eric Weinstein: Island, they're
Bret Easton Ellis: silent, but my mom.
Completely relates to boom, technically.
Yeah.
The last boomer.
Yes I am.
But I,
Eric Weinstein: yeah, no, I know, I know that you are,
Bret Easton Ellis: but in terms of the chart, right, right, right.
In terms of the chart.
So yes, my parents were my mom and my stepdad are silent,
but they really are boomers.
Um, but no, I don't.
Eric Weinstein: I'm going to disagree with yeah.
I think that what we don't understand is that we settled on a narrative in
which the boomers are the problem.
The silent generation really begins the problem.
And we are letting the silent generation off just as we are
not paying attention to gen X.
And I believe sir, that you are the last of the boomers, but that you are
spiritually gen X and that you figured out you almost started really defining gen X.
I forget.
Who was he wrote the book gen X.
You probably not
Bret Easton Ellis: does this split.
Right,
Eric Weinstein: right.
I think that what I remember from this is that a few years,
either way was really important.
Right?
And I believe that the silence or the first generation to wrestle with the
problem in 1972, 73, that the country won't wake up to, which is that.
Our growth pattern changed for structural reasons.
It wasn't about some bad decision.
It wasn't about the gold standard.
It wasn't about the Arab oil embargo.
Something really structurally changed.
Okay.
And in my telling of the tale, silence, try to figure out
how to restart real growth.
It's like the engine has gone out.
They're going to try to restart the engine.
It doesn't work.
The boomers look at these efforts and they say, huh, that doesn't work, but
it's good enough for redistribution and to play games with fake growth.
So why don't we help ourselves to fake growth and we'll just grow our slices
of the pie as if the pie we're growing.
And I'm sure that that must mean that somebody else's slice isn't growing,
but that's really too bad for them.
And so the silence start a lot of these problems.
The boomers continue it.
All right.
The millennials confused.
Who's the gen Xers for boomers because to them boomer means older than me.
Bret Easton Ellis: Right.
Eric Weinstein: And the only generation.
And this is the thing that I find fascinating that I think really has a good
hope of restarting sense-making is gen X.
Bret Easton Ellis: I agree.
I completely agree with that.
And I do know that whenever I attempt to do it, millennial thinking shuts you down.
And so that is what I see.
That is what I've come up against on this last book tour I've done earlier
this year, and I'm going back out on the road, uh, in the fall, uh,
millennial hysteria, and overreaction to my talking about millennials and
any kind of critical way, and even being somewhat sympathetic to them.
Completely more than sympathetic Brett.
Oh,
Eric Weinstein: completely.
You're you and I are both hanging out with tons of millennials
and we're having some success.
We're having some, like, I don't understand this thought
pattern and the millennials.
This is another thing that I believe in you.
You please correct me if I'm wrong.
I'm fairly disagreeable.
Yeah.
I think the millennials are starving to know what actually happened.
And partially what I try to tell them is your.
The, the super ancestors, the silence and boomers who like, I
think bill Ayres, you know, was the head of the weather underground.
And he gets his job as a professor.
Whereas people, I know they, they see the slightest wrong thing in their out, right.
You're like, okay, you were a, you were a leading terrorist and
you can have a job as a professor,
Bret Easton Ellis: um,
Eric Weinstein: that world, in which 25 year old men.
You know, could take down a home and immediately build a second home
and everything just turned to gold.
It's like, well, it's not really that they were doing anything so clever.
They just, they were in a stream that was moving really fast.
And you got a dry Creek bed.
Right.
And yes, a few of you are going to do something so brilliant that
you can do something against that.
You know what I mean?
Like Ariana Grande's is not hurting for money.
Okay.
However, the idea that you could have in the financial sense, beta to a process
where you could just like, I don't know, go to law school or open a dry cleaner,
or, you know, start some new nonprofit and you can have a perfectly fabulous life.
That thing died.
And the millennials have the sense of like, okay, well this is all hopeless.
And maybe we're not really that good.
Bret Easton Ellis: Oh yes.
Eric Weinstein: And my point is, look, man, these other guys could
have three martini lunch punches, and everything's still worked out.
Bret Easton Ellis: Yeah.
Um, there is this sense of it.
And I talk about it in.
In my book, I talk about all of the things I've noticed and I've Mark
down with living in close proximity with a millennial, a key millennial,
uh, For the past 10 years and, uh, the things that I've noticed about
them and that I've experienced.
And I started to write about this.
I actually tweet about it quite harmlessly, uh, and under the hashtag
generation was because I was so surprised how offended he was, how
over-reactive he was bordering.
I felt on hysteric about.
Just the normalcy of the world and the way human beings are with all of the
contradictions and all of their flaws.
Um, as I said earlier, uh, he, and I'm not saying that he, um, puts it out there, but
there seem to be, I found a love of rules.
That rules offered a kind of pathway, a narrative that wasn't there otherwise,
and that all of these rules about what you can say, what you can't say, how
you can express yourself, how this is sexist, how that is racist was a
way of kind of controlling a world that they felt was had just abandoned
them in a way that w there was no way to make money that the economy was
Eric Weinstein: well, this is something they can do to you.
Bret Easton Ellis: Which is what they are doing.
So it is now happening.
And I see it in the reaction to this book, which is critical
of a lot of ways of thinking.
And I think you and I are pretty much aligned on what
the problems are right now.
Eric Weinstein: Let's, let's explore that.
What do you, what do you see is because I have a different take
the rules thing, for example, maybe I'll try that and see whether,
Bret Easton Ellis: yeah.
Eric Weinstein: Okay.
I think people have not understood the role of Marshall Rosenberg's
nonviolent communication starts off with a good idea, which is that.
Maybe there's a way in which speech that is particularly damaging
has a physiological impact on us.
Our cortisol levels, spike.
We go into fight or flight.
There's all sorts of, you know, fighting words as part of our legal structure.
What if we call that violence?
Okay.
Now we have to have nonviolent communication.
So then you have all these rules about what it is that constitutes violent
versus nonviolent communication and speech becomes violence.
And then the entire concept of free speech goes out the window.
Furthermore, you have an abandonment, I think.
Thank you.
If you probably looked at the gender ratios of teachers in schools, my guess is
that you'll find that it has changed quite considerably from being dominated by one
gender, rather than a mixture of the two.
And as a result, you have the sort of thing that I don't think people have
really understood, which is then in part there's a way of boys will be
boys was used to disguise a lot of behavior, which I would have called
toxic masculinity, had that term not been polluted and turned into something
metastatic and unusable right there.
Really.
I went to an all boys school and man, I saw some stuff that
would absolutely curl your toes.
On the other hand, we're now using it.
Uh, to mean somebody makes the joke in the elevator third floor, women's lingerie.
Career's over like what?
That's insane.
Bret Easton Ellis: Look, my problem isn't necessarily with the things that you're
talking about, kids getting bullied, for example, no, that shouldn't be happening.
It's a part of life.
I look back on my life and I think what if I hadn't been bullied?
What if I had been
Eric Weinstein: bullied?
Bret Easton Ellis: Mmm, look just as much as anyone else
I knew any other boys I knew.
Yes I was.
And, um, but it w I don't know.
I mean, was it traumatic?
Did it help me become a writer?
Did it make me want to become an artist?
I certainly don't think I would have been a writer if I had been captain
the football team or the prom King, certainly things that happened to me that
were painful, helped create an artistic persona and helped my voice as a writer.
All of the stuff that you were talking about.
Fine.
Maybe there should be a big fix for them.
I don't know.
I mean, I also think that life is really hard and basically how you toughen up is
that you go through the hardships that build you into a person that can deal
with life's everyday hassles and the pain that inevitably comes to all of us.
What worries me is how this affects.
The arts and how we, um, deal with art, how we, um, how we,
uh, let it into our lives.
Uh, and.
That is the most worrying thing to me in the last five to 10 years, seeing that
art must be a certain way that there have to be rules for the art to be accepted
with the community that outlaw art.
I don't know where it is anymore.
Certainly was a big part of.
Uh, the world that I came of age and, and certainly it was something that I
wanted to explore as the writer of lessons zero or the right of American psycho two
books that I think because of sensitivity editors that they have now, publishing
houses would never be allowed to be published in American mainstream fiction.
So that lawlessness and that kind of recklessness, um, uh, that
great artists, um, trafficking.
Is really being minimized because it's it, isn't following a set of rules.
And I talk a lot in the book about how aesthetics don't really
matter that ideology has become the aesthetic and that what people
want is kind of an affirmation.
They want a lesson.
They want to learn something and they want it to be very, very
explicit, um, ambiguity, metaphor.
I really don't know if anybody traffics in that anymore in terms of, you know,
uh, communicating with millennials.
Um, so that is the thing that has bothered me the most, uh, the other
things that you're talking about.
Yeah.
And people shouldn't be in pain, but.
Being having to include certain things in your art for it to be palatable
or for you to make money or for someone to publish it or for it to be
shown in as many places as possible.
That is that's a problem.
And being told what you can or cannot say in something you create is also a problem.
Um, the list of rules now being handed out to artists about.
What's acceptable.
What's not acceptable as a writer and as a public person who has a podcast
and writes essays, you know, about entertainment and about, um, the world
that I'm a part of and getting attacked.
Is crazy.
I, it is the insanity that you're talking about.
I recently wrote a piece for Italian Vogue about the differences
between fashion in 1999.
When I published a large novel that took place within the
fashion world called glam Arama.
And today.
And so I thought about it, I thought, okay, well they're pain quite
well when no one else pays well.
And I can riff on this for a couple of thousand words.
And so I wrote about how mysterious the fashion world was and in the late
nineties and how, uh, it's exclusivity was, what it made, what it made it.
So Lorraine, um, it's, um, it's, it's lack of income.
Illusion is what made people want to be a part of it.
So.
So badly compared to now where you can see the met gala streaming online,
and everyone can be interacting.
Uh, and throwing out the comments while I see in closeup, the inside
of the party and the dresses right.
As they're happening.
Um, is that, I dunno, is that exciting?
Is it more exciting to not know exactly what's behind the curtain?
And of course I'm writing this as a gen exer, I'm writing about this in a
way that is really conforms to mind.
Sensibility.
I also talked about how, uh, the model bottles, the women and the men were
really quite extreme, nearly beautiful.
And they were, they were goddesses and they were gods and we looked
up to them because they weren't us.
They weren't us.
And that's why we were so drawn to them.
These women were other worldly.
These men were otherworldly and there was something about that, that I thought we
don't have anymore where we need models that look like us, that we have to be more
inclusive of, you know, um, body image and that we have to accept and that, and
that the modeling world and the fashion world is trying its best to do that.
And you can see it in shows.
Um, where, you know, they have, uh, whatever buck, tooth, whatever it is.
No, not, not people who conform to normal.
Not even normal,
Eric Weinstein: but let's be clear about it.
Model bone structure is almost like a mutation
Bret Easton Ellis: completely.
Eric Weinstein: It's what we traditionally think of is something
that is, is extraordinarily rare.
It does particular things for clothes that norm normal humans don't a
friend of mine is a supermodel.
And at some point I said to her, Um, I never realized it,
but you're really a mutant.
Yeah.
And her response was, yeah, I'm all legs and no.
So in her, her hands are like Edward Scissorhands hands.
Like just, just the way that Mike Michelangelo had to distort the David.
Somehow these people are actually distorted.
Bret Easton Ellis: I got blasted
Eric Weinstein: for writing this
Bret Easton Ellis: one.
Yeah, absolutely.
Blasted by millennials.
Huge.
A huge controversy about this piece.
Now I think part of the problem was that it was translated into
Italian and then someone wanted to translate it into English.
So when you're translating Italian back into English, it's a whole, other
can be all of these other meanings.
But basically the beef was, I don't believe in inclusivity
in the fashion world.
Well, I meant, I meant exclusivity was what made it so erotic and alluring?
No, that's they, they read it as I'm saying that.
Inclusivity.
I don't believe in inclusivity means that I'm a racist that I, uh, am a body
shamer and it was so remarkable to me that that's the message that they got
out of an older man talking about what he liked about in the late nineties,
about fashion that moved him to actually write a novel set in that world.
I'm a complete distortion of really what I was saying based
on this emotional idea of being.
Excluded themselves.
And
Eric Weinstein: it's
Bret Easton Ellis: just such a remarkable way to, um, to,
uh, reread something so that it conforms to your view of the world.
Uh, I certainly didn't have that when I read things that I didn't
necessarily agree in when I was
Eric Weinstein: that age.
Can I push back on the slightly?
Yeah, please.
So the way I read it is.
That they might've actually had a point and then they missed a point.
Right.
So.
One of the costs of having fashion be mysterious, aspirational, and dare I
say, transcendent, uh, is that it does remind us of our merely mortal nature.
There was a period of time where, you know, you, you would show people
without makeup, uh, and just how completely plain and ordinary.
They were right there.
They're all sorts of faces that lend themselves to being turned
into something that cannot be as canvases on which to be painted.
Let's say.
There is something powerful about, um, deconstructing fashion.
If I, if you remember, when I bring up sometimes as Jennifer
Lopez is famous for Saatchi dress.
Yeah.
Um, I am sure that adhesive is somehow lurking in the background, but the idea
of having adhesive on your boobs and, and having the fabric somehow stick,
you know, all sorts of contrivances.
That's much less.
Exciting and alluring if I know how the magic trick, of course.
So the idea of a magic show in which the demands to know how every
trick is done is a very weird thing because some of us want to be fooled.
We want to be seduced.
But we also are shamed in this process because of our own very plain nature.
One of the things that I have to deal with is, is that I have moles all over my face
and some, some percentage of every YouTube video that I've ever done comments.
And you think the guy would have some money, you need to have the moles removed.
Why is that guy wearing a wig?
Right?
Yeah.
It's clearly a weave.
No, but nobody, his age has hair like that, you know, or whatever.
And the shaming is incredibly powerful.
On the other hand, the transcendence is incredibly powerful.
And the number of people who can see both of these things, which is, yeah, they
have a point and they're also creating a huge negative externality and costs
that they're not taking into account.
We are in some sense in some sort of awkward waking up that there has
been a very dark side to fashion, to the models, to the way in
which we've eroticized children.
Very often, these women are recognized when they're 12, when they're 14, um,
And we have been complicit as a society in the, you know, eroticization of
children for a great deal of time.
So what, what astounds me is not that they push back, but that the
quality of the pushback is so shitty.
Bret Easton Ellis: Well, it it's, it's just, uh, a reflection
of their way of thinking.
It is pure ideology.
I don't send someone, I mean, look, writing anything is kind of,
you know, I don't want to say an act of magic or an act of willing
disbelief in terms of you're you're creating something out of nothing.
And I'm creating this idea about my memories of, uh, The nineties and
what I was attracted to about fashion and contrast seen it negatively to
what I feel fashion is now where I just, it's not as interesting.
Um, because it's, uh, I guess more, uh, Inclusive in terms of letting
you see the strings and everything, but letting you see the strings and
letting you see how everything is made is really endemic to this culture.
Now it's, it's in every Wikipedia page, it's in connecting all the
Marvel movies and all the backstories to all the characters generation
that's there is no mystery in terms of that they don't want mystery.
I think mystery frightens them and makes them feel.
Whatever unsafe ambiguity makes them feel unsafe and it confuses them.
Um, so I don't know, is it really shitty?
That thinking is shitty.
I guess it is to a degree.
It also is overly reactive to me and it, and of course it is because
the minute something is posted, you want to get your voice out there.
So you post something 20 minutes.
Eric Weinstein: That's true.
But like, I would say that for example, I always ask this question.
Do people want to be seduced?
If you, if you believe that you don't want to be manipulated, you'll
never have the experience of being seduced because seduction is in
some sense, a willing manipulation, usually on two people's part.
Right?
And so when, when Jennifer Lopez was trying to seduce the world
at scale with this dress, that miraculously stayed on her body.
We wanted to be in the audience and I'm sure, you know, one of the beliefs
I've had about gay men is that in some sense, very often gay men are like
magicians assistance or consultants.
They very often take great pleasure in seeing how the trick is done.
Um, without wanting to be completely like the heterosexual men are just sitting
there in the audience, lapping it up.
And the gay men are like, Oh, you know, did you see her makeup?
It was fabulous.
Like they're actually thinking about the construction, the craft, you
know, there's sort of a different, I,
Bret Easton Ellis: an outsider.
I
Eric Weinstein: mean, outside of that is you're not being carried away.
Like women at all also will say, Oh, did you see, I love the way she, you
know, she wears her false eyelashes.
Right.
Whereas men are like, If they're heterosexual, they're sort
of believing the whole thing.
Bret Easton Ellis: Right?
I can't imagine living in a world where I didn't want to be seduced daily.
That's what I want to be.
I want to be seduced all day long.
I want to be seduced by every book I pick up.
I want to be seduced by why else would I drive to a theater?
Why else would I drive to the ArcLight, pay a ticket and sit in a dark empty
room, unless I want it to be seduced.
I want to be seduced by my coffee.
I want to be seduced by everything.
And I do think there's a pushback on that because giving insists a
deduction is being out of control.
It is an out of control, but that's the pleasure.
Eric Weinstein: I think you've made this point before.
It has to do with this crazy loss of trust and in a world.
Characterized by a loss of trust.
I do understand the desire to worry about, well, you weren't careful
and you are shaming and you're having a negative effect over here.
Right?
Whereas in a world of higher trust, people say, you know, like in Silicon Valley,
the concept of pitching people say pitch me, you know, because the VCs who have
the money are used to being seduced.
You know, like, Oh, your, your pitch was in insufficiently, manipulative
and insufficiently seductive.
You're going to have a harder time with your company.
If that's how you do things, let me show you how to be, uh, how to orient
things so that you're more likely to succeed because that way I'm more
likely to make money with my investment.
I think that there there's some aspect where this desire for radical
transparency has to do with people who feel very cut out of society.
Bret Easton Ellis: I think it has to do with, because people don't read anymore.
I think it has to do with people don't read fiction anymore.
I think it has to do with a tiny, strange lack of empathy, even when everyone says.
You know, warm, fuzzy things to each other, uh, which to me
increasingly is just virtue signaling and acting out, you know, feeling
Eric Weinstein: virtuous and being virtuous as a writer, the
book are two very different.
Bret Easton Ellis: Thanks.
I think it's, I think it really is down to people.
Don't read anymore.
And that someone can find more meaning in, uh, Cuphead, which is the new video
game that all the kids are playing and that they'll never be reading.
They'll never know the mysteries of HP Lovecraft or whatever.
I do think that something has been.
Severely minimized in terms of experience and in terms of a breadth of experience.
And I don't care if I sound old, I've always sounded old.
I sounded old when I wrote less than zero was an old man at five,
Eric Weinstein: but you've said that you wouldn't choose novels again.
Bret Easton Ellis: I wouldn't, I absolutely would not.
Eric Weinstein: What would you choose in
Bret Easton Ellis: a world?
Uh, a web series, a TV show, a mini series.
I choose it.
I, I do think they've replaced it.
I think, uh, adult literary fiction has slid down.
Uh, we've lost about three.
13% of the readers since 2013, that is a lot that is a bad business.
And that's over a loss of a billion dollars in sales that
is suggestive of something.
And I also don't meet anybody anymore.
Who reads serious adult fiction, serious meaning quasi literary
to literary adult fiction.
I'm not talking about, you know, obscure.
Writers that are only taught in academia, but, um, it is
something that, um, I don't know.
I am, I really do believe that reading that kind of long form fiction
encourages empathy and encourages you to step into other people's
shoes and to see the world from.
Three or four or eight different angles rather than your own.
I think that that to me is the purest example of getting that experience more
than theater, more than listening to a record, more than going to a movie,
because it is not a passive experience.
It is an active experience of actually putting yourself in the shoes of
the character and seeing the world through the way that they look at it.
And it's just that you can't get that in any other kind of medium.
And if that's going, um, I mean, I don't know.
I mean, what's, what's replacing that.
Eric Weinstein: Well, I don't know that there is, and that's one of the things I
wanted to get to, which is if we are in fact losing the capacity, as I've said
for a semi reliable, communal sense, making that we can't make sense of the
incoming information in any way where we can communally kind of agree on, well,
what just happened and what should we be thinking about, about how to, how to.
How to approach at our approach that if we don't have a cannon where I can
reference a line or two, uh, you know, to get at a really complicated thought in
my own tradition, we've lost canned humor where a lot of, like, let's say Talmudic
teachings were contained in a joke and you would just use the punchline that nobody.
Told the joke.
Once everybody knew it, you just used the punchline to say, well, that's
a super subtle principal, you know, like, well, referencing one line, the
idea is that does protest too much.
Me thinks is a complicated concept.
I don't want to have to explain it from scratch, but if I can point out
that somebody is falling over, you know, Alan Dershowitz seems to be
protesting too much at the moment.
Right.
And I don't want to have to say more.
Right.
Um, if we don't have common literature, common Canon, if we don't have the time to
sort of take a more Strauss in view, which is what is the, what is the writer really
trying to, to say that can't be said in the open, if we believe that transparency
is always the answer and that sunlight is always the best disinfectant, is there
any way of waking up into a different era?
So that th this thing that is, uh, suffusing our culture.
Um, doesn't take the whole enterprise down.
Bret Easton Ellis: Sometimes, I think I'm old sometimes and I am, I am old.
And I think that this is the natural state of things and that we are just
moving forward on this trajectory and that bit by bit, you kind of get.
Um, you can fight, I suppose, in an unnatural way to try to stay on that
trajectory, but it's moving along and, uh, you know, that golden world that
surrounded you is moving on to younger people and to sexier people and to.
More vibrant people.
And I, I think sometimes, and I S I, I don't believe this is true about reading.
I sometimes think that, Oh, this is what it means to become somewhat obsolete in
terms of a pop culture world in terms of being a member of the pop culture world.
And it.
And it just goes this way and people are left behind, I think a lot about why,
um, the Quintin Tarantino movie, uh, struck a chord among so many middle aged
men I know is because it's really an exploration of that, of being, you know,
um, so all of this is a roundabout way saying that maybe people are figuring
out and the trajectory that we're on is the one that they want to be on.
But I just don't know if it, I don't know if it is, and I don't
know if, um, I, I don't, I think we're ever going back to Reed.
Eric Weinstein: I agree with that.
I don't know that I want to go back to the previous world.
Bret Easton Ellis: Yeah, no, I don't think I do either.
And I am.
I just, I just wished it to a degree and I think it's it's as with you that,
um, that I guess a little bit more.
Empathy critical thought.
And that this notion that you can see two things in, um, in a
sentence or in an opinion, you know, Fitzgerald's famous dictum about.
The only smart people are the ones that can really see both the
beauty and the horror and arose.
And if you, if you, you need to be able to see both to be an artist or to
be a person in the world, uh, if you just see one or the other, whatever.
Um, and I, and I don't see that, uh, anymore, and it
is, um, That's what I miss.
I mean, I don't really want to necessarily go, but they'll look watching,
watching the Quintin Tarantino movie.
I mean, I wouldn't, I don't know if I wouldn't mind going back here to
Hollywood, 1969, just in terms of a certain kind of fetishistic level
in terms of clothes and decor and.
Eric Weinstein: Yeah, I think that there is a golden age of Hollywood.
I think one of the things we're missing is we developed this idea of critical
thinking and it turned out that there was a parallel theory that never got
developed, which I've called critical feeling, which is how do you get your
feeling to be responsive and adaptive as opposed to reflexive and kind of right.
And that the group feel.
Is this very weird thing that the millennials traveling my theory about
this, whether you'll bite on this or think it's really is that maybe
generation X are there so-called magic Negroes to, um, the millennials,
the millennials are a larger cohort.
Maybe they're going to mean.
More, you know, nobody from the 1930s who was born in the 1930s ever became
president of the United States.
Maybe the idea is the gen X has a different role and that the
millennials, uh, are hungry to be inducted by something older, something
more established to be recognized.
The boomers are weirdly not going to do it.
The silence are almost spent.
Yeah.
And I wonder whether our problem is that we were angry.
Like, I don't think generation was really working because
what it does is it sets us up.
Oppositionally we're taking their nonsensical energy, which by
the way is completely maddening.
And I think it's very strange that I grew up in a very threatening
world, really physical, physical.
Yeah.
And I'm more worried about Twitter.
Than I ever was in the world where people are wrapping their
cars around telephone poles or ending up ODing in the Cedars, ER.
Something about this world is weirdly dangerous because
there are no normal rules.
It doesn't know when to stop.
It's willing to take away your ability to earn, to destroy your reputation, to move
your private life into the public sphere.
And it doesn't seem to have any empathy.
I wonder if the real trick, and this is like, the hardest thing to even imagine
is to realize that these are damaged kids and now damaged adults and that our grit.
It's supposed to serve them.
Maybe we're supposed to lose twice, lose one to the baby boomers and the
silence more supposed to lose again.
But we are supposed to take up.
Our place, helping them become a better version of themselves.
I think most of my audience is millennial and I bet yours is too
Bret Easton Ellis: great deal of his millennial.
Uh, and, uh, I talk about the demise of a lot of things.
I talked about the demise of reading.
I thought I talk about the demise of American cinema, which you would
think would not be interesting to them at all, but, um, They're there.
Uh, and certainly I have a large millennial following despite how often
millennials attacked me this past spring with the publication of the book.
Uh, they were definitely there at the readings.
They were definitely there at the signings and a lot of them were there
when I gave a talk at the Peter deal.
The oven foundation about a month ago.
So there is that audience and I agree with you on a certain level.
I do think they want to learn and they do want guidance.
I think they're hungry for it or to a degree.
Um, but they are overly sensitive about how people, um, see them.
And that is very interesting.
Uh, and I think a new thing in terms of shame because the, the,
the guiding principle or one of the strongest, um, uh, signifiers in
the millennials, I know is shame.
Shame is a huge motivating factor to be shamed.
And, um, that is something that I, I don't know, I can't relate to, and I don't
think gen X can really relate to that.
As much either it's not as PA it was never as powerful, motivating how you express
yourself in terms of being online in terms of how people talk about it for us.
Eric Weinstein: I think that what we don't understand is is that
we're not, this is another theory.
Feel free to shoot it down.
I've watched the very strange interactions between millennials from
a perspective of a gen X or whatever often say is that was a little rapey.
Yeah.
And.
If you use the word rape to a gen exer, it's like, boom,
you've just dropped a bomb.
But like rapey, like I would never use the word rapey and then another one
of them will say, yeah, you're right.
It was a little bit rapey.
And then they go on.
And so the idea is that they're trading there.
They have an agreement, which is like, it's normal for people
to say things that are kind of.
Rapey and racist and kind of, kind of like you're starting to get into dangerous
territory, just I'm signaling to you.
You probably don't want to go there and there.
And he was like, thank you very much.
I didn't want to go there.
And then they all go on their Merry way.
Very often.
What we do is say, what did you say.
Like we we're back on our heels.
Cause we're not part of this agreement.
And we have an idea of like, there was nothing wrong with what I said,
dare talk to me that way or no, no, no, absolutely didn't mean it.
I promise you.
I promise you so we don't understand that it's relative to an agreement
that we're not part of to warn each other to back off and give a quick
apology and then keep moving on.
And I don't even agree with it, like from their perspective.
If I'm showing them a George Carlin routine and they say
that was a little racist.
Bret Easton Ellis: Mmm.
Eric Weinstein: We're now at a weird impasse where if I continue to say,
I think that routine is actually quite important and you really need
to look at it and pay attention.
Try to figure out what he's saying now we've escalated.
Wow.
You did.
I gave you your warning shot and you declined it.
Now I'm going to have to call, call you out as really a bad person.
And now I'm going to have to potentially use my high leverage
position as a reporter for a famous newspaper to actually ruin your life.
Like we don't understand that.
That's not what they're hoping for.
They're hoping for this sort of, Oh yeah.
You know, what was I thinking?
I would never want to point somebody to that.
George Carlin routine,
Bret Easton Ellis: the ambiguity of irony.
That's missing the ambiguity of irony and ironic I irony and being ironic
was, you know, a key, a key part of it.
Our generation.
Um, and it was a way we express ourselves and it's a way that we dealt with things.
A lot of it in our, in our novels, in the music that we listened to, um,
very rarely was music, this declaration of myself and how I'm feeling, um,
at least as a gen X or growing up in the late seventies and the eighties.
Um, but that lack of irony.
Rips up, takes away shading and takes away, uh, humanity, um, because
nothing is exactly as it seems.
And if you want to look at the world in that way, and then every little,
um, thing that you don't like becomes racist or rapey, and you're not able to.
Place it within a context and taking the totality of it and look at it
from three or four different angles.
And you're, it's just pure reaction to, I dunno, a litany of rules that
you've been told you have to follow.
I'm not doing it.
I mean, I'm just not, and I don't apologize to them and I don't say
anything, but I just don't say anything.
People.
I mean, I didn't, I've never written an apology to anybody and I've never
defended myself to any of these people either because the arguments just isn't
worth responding to on a certain level you've, you've taken you've, you've
decreased, structured to a degree where there's an ounce or so of sympathy, but I
also think that they should know better.
I think I'm giving people way too much credit for those pulling up
their pants and understanding what it means to be an adult and that you
Eric Weinstein: well, I'm trying to get them to entertain the idea
that, for example, if you chase injustice with greater injustice,
you have not gotten rid of injustice.
You have a problem with the old lady who swallowed a fly, right?
I'm trying to figure out how to get through to their minds.
What I see now, maybe there are ways in which I'm wrong.
I'm open to that, but I'm not open to the idea that suddenly every
everything has been wrong and one generation has suddenly figured it out.
Bret Easton Ellis: I have to say something please, as I realized
that I don't really care.
Yeah.
I really don't care what millennials think about me.
And I really don't know if I care.
What I think about them.
The overreaction to the hashtag generation was, which I thought was a perfect example
of a kind of snarky gen X way of looking at millennials was intended as comedy.
And it was tended as something to
Eric Weinstein: talk about.
I understand exactly.
I got all chuckle out
Bret Easton Ellis: of it.
Right.
But still.
Two two.
And then when I did it, take it a bit serious, more seriously, and expanded
on it in my book, um, and realized that I was sympathetic as well as annoyed.
Um, I just, I don't know.
I think that the reaction to that was endemic of, of, uh, you know, millennial
thinking and that it is, um, I don't know it was problematic, but I also realized
I've got other things, so not to worry.
That's
Eric Weinstein: fine.
But what I'm worried about is we've got a generation that is now going
to probably use its high leverage positions to derange a lot and, and
cancel it and well canceling, you know, some of us can afford w what worries
me is I see this as eroding the.
Outer layers of our civil society.
They're about to get to core structure and it's going to keep going.
And I don't think it's cute.
I think now I think it is absolutely capable of getting us into war.
I think it's capable of getting us a president that would be dictatorial as
far as an overreaction to their nonsense.
Yeah.
So I don't think nothing is riding on it.
I think a lot is riding on it and I have two contradictory impulses.
One is to say, Well, what is it that you're actually trying to say?
Maybe we can work to try to understand you better.
And the other one is cut that shit out.
No, of course.
And so I don't have the indifference.
I think that you do.
I think what I have is I have two contradictory impulses.
One of which is to say, I bet you're saying something
and I'm just not getting it.
And the other is you're wildly out of control and you need
to see a different path.
Bret Easton Ellis: Of course, boom or youth.
Millennial youth, gen X youth.
I know which one that I am probably, uh, uh, most, uh, impress apply on a
certain level in terms of I'm shocked in terms of a kind of a level of.
Clear headed.
I don't want to say adulthood, but just a, a way of dealing with
the world that is wildly different from millennial and boomer.
And I think that's interesting that you think that there could be a
moment where gen X might step up to the stage and announce itself
forcefully in a way that perhaps we
Eric Weinstein: have, I mean, you and I.
We're modeling a conversation, which we have a couple of diff disagreements.
Yeah.
I think it's polite.
Both of us are capable of taking our sabers out of their sheets,
but there's usually no reason to
Bret Easton Ellis: no, and I don't
Eric Weinstein: never, and what I do find is is that I just think.
What I was hoping to do here a little bit is to talk about this
context and this firmament, which I think has been invisible, that
we've have a boomer millennial story.
There's a very important role of gen X that has been ignored.
And your, your, your work, I think, has been probably the best example of it.
To be honest, I find it almost impossible to read because it's so, it's so right.
And that what.
What we do next is we have to think about the longterm longevity of our stuff.
Society.
I'm very worried for example, that some of these millennial females need to start
families, even though they're pretending it doesn't really matter one way or the
other, whether they have, uh, families are not, I think it's going to be incredibly
destructive if we don't have people invested in the longevity of our society.
Through somewhat normal structures.
Now I could be wrong in that.
Maybe the idea is, is that a family is an outmoded concept and that people
don't need this to be fulfilled.
But I do think that if we don't actually have adults in the room and if we
don't become those adults and strong and caring above, let's just the way
you're dealing with a bratty child.
We're, we're too cowed by these bratty children.
We actually have to say, Hey.
I'm really sorry, but you have to stop throwing a temper tantrum.
And if you have to go to your room, go to your room, but you're out of control you.
We can't have the New York times becoming the agent of like individual destruction
as it destroys the reputations of people who fall out of line of the orthodoxy.
That, that thing is a threat to our society.
Writ large.
Anyway.
I don't know whether you agree with
Bret Easton Ellis: that note.
All right.
I think I, I completely agree.
Well, I agree.
Eric Weinstein: It has been fantastic having you here and you've been through
the portal with Bret Easton Ellis.
Uh, I hope for those of you who are listening on Apple or
Spotify, You'll subscribe to the program and hopefully we'll be
putting it out on YouTube as well.
So make sure to subscribe to our channel and we'll see you next time.
Thanks very much.