Keen On America

Not everyone, especially mainstream Democrats, are going to agree with Jessica Pishko on this one. In Liberties, she argues that it was the Democrats who “built Trump’s army”. It was Joe Biden, she claims, who built up the very law enforcement regime that Trump is now weaponizing. So, in Pishko’s mind, the Democrats have as much responsibility for the Mad Max police state which Trump is now unleashing now on America.Here are the 5 takeaways in our conversation with Pishko:* Democrats invested in police despite lack of support: According to Pishko, Democrats under Biden significantly invested in law enforcement (adding 100,000 police officers), but this did not translate into police support for Democrats. She argues police overwhelmingly supported Trump in both elections despite these investments.* Police unions backed Trump: Police unions, which traditionally didn't endorse presidential candidates, explicitly supported Trump in his campaigns. Pishko finds this paradoxical since Republicans typically don't support unions, while Democrats (like Biden) protected police pensions and increased funding.* "Defund the police" aftermath: Pishko suggests the 2020 protests led to a backlash where police became more aligned with Trump. She argues Biden's attempt to distance himself from "defund the police" by increasing funding didn't win police support but may have alienated progressive supporters.* Reduced oversight under Trump: Pishko claims Trump has removed checks on police power, citing examples of him pardoning convicted police officers and ending Department of Justice investigations into police brutality. She believes oversight will now need to come from local and state levels.* Structural challenges to police reform: Pishko argues that the structure of policing itself resists reform, pointing to examples like the Los Angeles Sheriff's Department where, despite multiple oversight mechanisms, problems persist. She notes that Black officers are leaving the profession, suggesting systemic issues that individual "good officers" cannot overcome.Jessica Pishko is a journalist and lawyer with a JD from Harvard Law School and an MFA from Columbia University. She has been reporting on the criminal legal system for a decade, with a focus on the political power of sheriffs since 2016. In addition to her newsletter Posse Comitatus, her writings have been featured in The New York Times, Politico, Rolling Stone, The Atlantic, The Appeal, Slate, and Democracy Docket. She has been awarded journalism fellowships from the Pulitzer Center and Type Investigations and was a 2022 New America Fellow. A longtime Texas resident, she currently lives with her family in North Carolina.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

There’s a story today about how a VR headset can make us more empathetic toward nature. But according to the Pacific Northwest based author and biologist Thor Hanson, no digital technology can ever replicate nature. Instead, he argues in his new book Close to Home, we humans are wired, so to speak, to appreciate the natureal world whether its on the Galapagos or in our local park. In fact, he told me in a windswept conversation he recorded outside his home on San Juan island, the wonders of nature are just acute outside our door, even if we live in Los Angeles or New York City. Here are the five KEEN ON AMERICA takeaways in our conversation with Thor Hanson:1. Nature is accessible everywhere, not just in remote locations. Hanson emphasizes that meaningful connections with nature can be found right outside your door, even in highly urbanized environments like Los Angeles.2. Local nature connections provide emotional resilience against global environmental challenges. Hanson suggests that forming bonds with nearby natural spaces helps counterbalance feelings of helplessness about larger environmental crises.3. Scientific evidence confirms nature's positive impact on physical and mental health. Multiple studies show measurable benefits from nature exposure, including lower anxiety, reduced blood pressure, and faster recovery from illness.4. Children have a natural ability to observe and connect with nature that adults often lose. Kids see more details in nature because they haven't developed the sensory filters that adults use to block out environmental stimuli.5. Small-scale local conservation efforts can collectively make significant environmental impacts. Hanson shares examples like Switzerland's community pond-building initiative that successfully reversed amphibian population declines across an entire region.Author and biologist Thor Hanson is a Guggenheim Fellow, a Switzer Environmental Fellow, and winner of the John Burroughs Medal. His books include Close to Home, Buzz, The Triumph of Seeds, Feathers, Bartholomew Quill, The Impenetrable Forest, Hurricane Lizards and Plastic Squid, Star and the Maestro, and more.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Here are the 4 KEEN ON AMERICA take-aways in our conversation about the dysfunctional American immigration system with Felipe Torres Medina1) Background & Immigration Journey* Felipe Torres Medina is a comic writer for "The Stephen Colbert Show" and author of the new book America Let Me In about the US immigration system* Born in Bogotá, Colombia, Medina moved to the US at 21 on a student visa to pursue a master's in screenwriting at Boston University* Medina received an "alien of extraordinary ability" visa (talent visa for artists) after graduation, and eventually got a green card after marrying2) On the US Immigration System* Medina describes the immigration process as expensive (costing "tens of thousands of dollars" in legal fees) and filled with bureaucratic challenges* He emphasizes that legal immigration requires "tremendous privilege and money" that most people don't have* The book takes an interactive "choose your own path" format to highlight the maze-like nature of the immigration system* He points out that there hasn't been comprehensive immigration reform since the Clinton administration (nearly 30 years ago)3) Comedy as Commentary* Medina uses humor to process his experiences and create community around shared frustrations* He was inspired by writers like Julio Cortazar, George Saunders, Tina Fey, and Carrie Fisher* The book aims to educate Americans who "have so many opinions about immigration" but "don't know what it entails"* He mentions that making the book interactive and game-like adds "levity" to a tense topic4) How to Fix the System* While critical of Trump's immigration policies, Medina says the book isn't specifically about Trump but about a "flawed and messy" system created by multiple administrations* He suggests moving US Citizenship and Immigration Services out of the Department of Homeland Security to change the narrative that immigration is a security threat* His proposed reforms include creating better pathways for educated immigrants and hiring more USCIS staff to reduce backlogs FULL TRANSCRIPT* Andrew Keen: Hello everybody. It is Sunday, March the 9th, 2025. Interesting piece in the times. A couple of days ago, The New York Times, that is about the so-called British flame thrower who is a comic best suited to taking on Trump. They're talking about a man called Kumar. Nish Kumar looks very funny, and apparently he's very angry too. I have to admit, I haven't seen him. It's an interesting subject. It suggests that at the moment, even in spite of Trump and outraging many Americans, the state of American humor could be amped up a bit. My guest today is a writer on The Stephen Colbert Show and a comic, or certainly a comic writer in his own right, Philippe Torres Medina. He has a new book out on Tuesday. It's called America Let Me In, and I'm thrilled that he's joining us from Harlem in Manhattan today. Congratulations, Phillip, on the new job. What do you the new book? I was going to say job. That's a Freudian error here. What do you make of the Times's observation that American humor isn't in its best state when it comes to Trump?Felipe Torres Medina: Oh, wow. That's that's an interesting question. First of all, I love Nish Kumar. I think he's a wonderful, wonderful comedian. He's very funny. He has a level of wit and his observations are just wonderful. I hadn't seen this article, but I really appreciate that the times recognized him because he's been working very hard for a lot of years. I think more than American humor not being fit for the moment. I think at least personally for me, a little bit of addressing Trump again began. And addressing Trump in general is, you know, jokes have to be new. And after basically ten years of Donald Trump every day, all the time, it's certainly hard to continue to find new angles. Now, the dysfunction of the administration and perhaps sometimes the cruelty and whatever they're doing does provide you with material. But I think it can cause you as a writer to be like, oh God, here we go again. More Trump stuff. You know, because that's what we're talking about.Andrew Keen: Do you see your book, Philippe, as a Trump book? America? Let me in. It's about immigration. I mean, obviously touches on in many ways on Trump and certainly his hostility to immigration and immigrants. But is it a Trump book, or is it a broader kind of critique or observation about contemporary America?Felipe Torres Medina: Yeah, I never set out to write a book about Trump or a Trump book. My goal is to write a book about the immigration system, because I went through it, and as a comedian, I encountered in it many contradictions and absurdities that just kind of became fodder to me for comedy. So I try to write this book about the system, but the system was caused by many administrations in many parties, you know, now, the current hostility or the current everythingness of immigration, you know, immigration being kind of in the forefront of the national discourse certainly has been aided by Republican policy in the past ten years and by Donald Trump's rhetoric. But that doesn't mean that this is a book about Trump or as a response to Trump. It's actually a book responding to a system that is flawed and messy, but it's the one we have.Andrew Keen: Yeah. You described the book as a love letter to immigrants, but it's not a love letter to the system. Tell me your story. As you say. You went through it so you have firsthand experience. Where were you born?Felipe Torres Medina: So I was born in Colombia. I was born in Bogota, Colombia, which is the capital of Colombia. I lived there most of my life. I moved to United States when I was 21 on a student visa, because I came here to do my masters. I did my master's in screenwriting at Boston University. And after that, you know, I started working here as a comedian, but also as a writer. And I was able to get an alien of extraordinary ability visa, which is a very pretentiously named visa, kind of makes you sound like you're in the X-Men, but it it's just what they call talent visas for artists, athletes, entrepreneurs, educators, whatever. And so I got one of those and then several renewals of those. And then, you know, thanks to my work as a writer, as a comedian, initially as a copywriter in advertising, I was able to I bought I met the love of my life, got married, and then I have a green card and that's why I'm here.Andrew Keen: Yeah. As and quoting here, it sounds rather funny. An alien of extraordinary ability. Do you think your experience is typical? I mean, the even the fact that you came for grad school to to Boston puts you in a, in a kind of intellectual or professional elite. So is your experience in any way typical, do you think?Felipe Torres Medina: I wouldn't say typical. I would say my experience is the experience of many people who come here. And I think it's the experience of the people who are, quote unquote, the immigrants we want. Right. And, you know, if we're going to dive into the rhetoric of the of immigration these days, I came the right way and did everything, quote unquote, the right way. You know, but what this book and also this journey that I took to immigrate here proves is that it's it's only possible with tremendous amount of privilege and tremendous, tremendous amount of money. You know, it's a very expensive process for the majority of people.Andrew Keen: How much did it cost you?Felipe Torres Medina: Oh, I think in total since I started. I mean, when you count the fact that for most, like master's programs, you don't get any sort of financial aid unless you get, like a scholarship from your own country or a sort of like Fulbright or something like that. There's already the cost of a full master's program.Andrew Keen: But then you weren't coming. I mean, you didn't pay for your master's program in order to get immigration papers, you know.Felipe Torres Medina: Of course, that, but I, I had to pay for my master's program to be able to study here. You know, I didn't have I didn't have my any sort of aid. But, you know, discounting that in terms of immigration paperwork, I've spent tens of thousands of dollars because you have to hire immigration lawyers to make sure that everything's fine. And those are quite expensive.Andrew Keen: Was it worth it?Felipe Torres Medina: Well, yeah. You know, I met the love of my life. I live a.Andrew Keen: Very. I mean, there are lots of loves of. You could have met someone else, and that's true. Or you might have even you might have even met her or him at an airport somewhere else while they were on vacation.Felipe Torres Medina: That's that's possible. But yeah, I mean, I live a I live a good life. I do what I wanted to do, you know, I, I took got my master's because I wanted to write comedy professionally and I get to do that. And I do think when I set out to do this, I was like, well, the place with the best film and television industry in the world is and was then and still is the United States. So I was like, well, I have to go there, you know, and I was able to become a part of this industry and to work in this art form.Andrew Keen: You didn't get any job. You You got the combat job? Yes. I believe you drew the the short straw, right? I bet nobody else was right. Just Stephen Colbert.Felipe Torres Medina: Yeah, I'm very lucky. And but again, it's a mix of luck and hard work and all those things. So yeah, I don't I don't regret moving.Andrew Keen: So some people might be watching this maybe some some MAGA people. I'm not sure if MAGA people really watch this, but if they were they might be thinking, well, Philippe Torres Medina, he's a good example. He's the type of person we want. He jumped through many hoops. He's really smart. He's really successful. He brings value to this country. Is now a full time writer on the Colbert's show he came from it came from Latin America. And he's exactly the kind of person we want. And we want a system that's hard, because only guys like him have the intellectual and financial resources to actually get through it. Well, how would you respond to them?Felipe Torres Medina: I would say that I appreciate the compliment, but I wouldn't necessarily say that that's the best way to move forward on immigration now. I will say this book is a humorous take on the whole immigration journey. And so what? Like I tell different stories of different people coming here made up or inspired by real life. And one of the paths that you can take in this book, because this is kind of an interactive choose your own path book, is mine. But I think what this book tries to prove is that even if you do everything right, even if you, you know, have the money, sometimes it's very, very hard. And that, I think, does put us at a disadvantage when it comes to having a workforce that could be productive for the country, especially as birthrates are declining. You know, we are headed toward a but, you know, people have described as a barrel economy. If we don't simply up the population and the people who are upping the population and actually having children are immigrants.Andrew Keen: One other piece of news today, there's obviously a huge amount of news on the immigration front is apparently there's a freeze on funding to help green card holders. You've been through the process. You write about it in the new book. But how much more difficult is it now?Felipe Torres Medina: You mean under the current administration? Yeah. I wouldn't know. I you know, I think that.Andrew Keen: This idea of even freezing green card. Yeah. That holidays, even if you have a green card, you get frozen.Felipe Torres Medina: Yeah, exactly. And I think that that, you know, I think that that's what Trump did in his first term, more or less with legal immigration, was to create roadblocks and freezes and these kinds of things to kind of just like stymie the process and make it slower, make it harder, even for people who, again, are doing everything right to be able to remain in the country.Andrew Keen: And I'm guessing also some of the DOJ's stuff about laying off immigration judges and court stuff, they're taking office to leave. Apparently 100 immigration court staff are retiring. This adds to it as well.Felipe Torres Medina: Yeah. Yeah, exactly. I mean, Citizenship and Immigration Services, USCIS is a very particular part of the government because it is one of the few parts of the federal government that funds itself. Again, going back to cost the fees that they make are so big, they make so much money that if there's a government shut down, actually, USCIS does not shut down. It's one of the few parts of the government that didn't need to shut down, because they make so much money out of the immigrants trying to come here. So it's a really, really strange part of the government. It kind of doesn't know where it belongs. So seeing like the the DOJ's cuts that arrive into the and that may be implemented into USCIS. Kind I'm not familiar with any Dodge cuts recently on USCIS, but I suspect that they would be strange because it's a it's a very strange division of the federal government. It's not like the Department of Education or the like the Forestry Service. It's it's it's own kind of like little fiefdom.Andrew Keen: Are you wrote an interesting thing or you were featured recently on Lit Hub, where this show actually used to get distributed about how to write a funny book about American immigration. Of course, it's it's a good question. I mean, it's such a frustrating bureaucratic mess at the best of times. I do write anything funny, Philippe, about it.Felipe Torres Medina: Well, I think the, the to me, the, the finding a format to be able to explore this, this chaotic system. It's so, so complicated. It's like a maze. So to me, having this kind of interactive format allowed me to have some freedom to be like, okay, well, you know, one of the things that they taught me in my comedy education, when I was training at a theater here in New York, the Upright Citizens Brigade is the premise of if this is true, then what else is true? You know, so if this absurd thing is reality, then what? How can you heighten that reality? And for me, you know, the immigration system is so absurd. It's it's so Byzantine and chaotic that I was like, okay, well, I can heighten this to an extra level. And so when I keyed in on, on this format of like allowing the person who's reading it to be the many characters to inhabit the, the immigrants and also to be playing with the book, you know, going out and going to one page, making their own choices. It allowed me to change the tone immediately of the conversation because you say immigration and everyone's like, oh, you know, it gets tense. But if you're saying like, no, no, this is a game, you know, we're playing this game. It's about immigration, but it's a game. All of a sudden there's a levity to it, and then you take the real absurdities and the real chaos of the system and just heighten it, which is basically what you do with comedy at all times.Andrew Keen: Who are the the fathers or perhaps the mothers of this kind of comedy? The person who comes to my mind is is Kafka, who found his own writing very funny. Not, and I'm not sure everyone necessarily agrees. He, of course, wrote extensively about central mid European bureaucracy and its darkness and absurdity. Who's inspired you both as a comic writer and particularly in terms of this book?Felipe Torres Medina: Well, actually, Kafka also has a great book called America.Andrew Keen: Yeah. Which is a wonderful first paragraph about seeing this. Seeing the Statue of Liberty.Felipe Torres Medina: Yes. Which is also kind of about this. But I would say my inspirations comedically are, you know, I don't think I would have written this book without, like, the work of Tina Fey. I think Bossy Pants was a book where I was like, oh, you can be funny in writing. And Carrie Fisher is a big Star Wars nerd, you know, to like great, funny writer writers who are just, like, writing funny things about their lives. But I think the playfulness of it all, actually, I was inspired by this Argentine writer, Julio Cortazar, who wrote a novel that in English just translated as hopscotch. And this novel is a huge, like, structural disrupter, you know, in the like, what we call the Latin American boom of writing in the 60s, 70s and 80s. And he wrote this novel that is like a game of hopscotch. You're jumping from chapter two chapter. He's directing you back and forth. So I read a lot of that. And I, you know, I read that in my youth, and then I read it. I reread it as I was older. And then there are writers like George Saunders, who can be very funny while talking about very sad or very poignant things. And so that was also a big inspiration to me. But, you know, I am a late night writer, so I was interested in actually making it like, ha ha, funny. Not just, you know, sensible chuckle funny, you know, kind of like a very, like, intellectual kind of funny. So I was also inspired by, you know, my job and like Colbert's original character in Colbert's book, America, I am American. So can you the writing of The Onion and, you know, the book, The Daily Show Book America, which is just kind of like an explanation of what the federal government is and what the country is written in the tone of the correspondents or the the writers for The Daily Show back in the original Jon Stewart iteration. So those books kind of like informed me and made me like, realize, oh, I can you can make like a humorous guy that's jokey and funny, but also is actually saying something isn't just like or teaching you something. Because the biggest reason I started writing this book is that Americans don't know their own immigration system, and they have so many opinions about immigration, particularly now, but no one knows what what it entails. You know? And I don't just mean like conservatives, you know, I don't just mean like, oh, MAGA people. Like, I was living in New York in the Obama years or like the late Obama years, and none of my liberal Brooklyn, you know, IPA and iced matcha drinking friends had any idea what I was going through, you know, when I was trying to get my visas.Andrew Keen: The liberals drink IPA. I didn't know that I drink IPA, I mean, I have to change my. Yeah. It's interesting you bring up in the first part of that response, the, the the Argentine novelist. There's something so surreal now about America. An interesting piece in the times about not being able to pin Trump down because he says one thing one day, the next thing the next day, and everyone accepts that these are contradictions. Now, the times describes these contradictions as this ultimate cover. I'm not quite sure why they're a cover. If you say one thing one day, in the next something the opposite the next day. But is there a Latin American quality to this? I mean, there's a whole tradition of Latin American writing observing the, the cruel absurdities of of dictators and wannabe dictators.Felipe Torres Medina: Yeah. I mean, it's it's part of our literary tradition. You know, the dictator novel you have. But again, just as the feast of the goat, and you have Garcia marquez, my my compatriot, you know, like that.Andrew Keen: Was one of my favorite magnificent writing.Felipe Torres Medina: It's it's possibly, I hesitate to say, my favorite writer because it creates ranking, but.Andrew Keen: Well amongst your.Felipe Torres Medina: Favorite, among my favorite writers, 100 Years of Solitude. Obviously that is possibly my favorite novel, but he has also, I believe it's the Autumn of the Patriarch, which is his novel about. Exactly. Yeah. I mean, there is a there is. I wouldn't say it's a South American or Latin American quality to it. I think it's just once you encounter it, it is so absurd that art does have to come out and talk about it, you know, and, you know, you see the in a book like the Autumn of the Patriarch. That is a character full of contradictions. That is a character who, in chapter one, hates a particular figure because they he they think that they're against him and then is becomes friends with them and then hires him to be his personal bodyguard. You know, that is what dictators are, and that is what authoritarians do. It is the cult of the person. It is the whims of the person, and the opinion of the person are the be all and the end all to the point where the nation is. It is at the whims of, of of a a person, of those of those persons contradictions. So I wouldn't say it's necessarily a Latin American nature to this, but I think Latin America, because we experience dictatorship in many times supported or boosted by the United States. Latin Americans were able to find a way to turn this into art. And quite good art is what I would say.Andrew Keen: Yeah, and of course, it's the artists who are best able to respond to this. As you know, it's not just a Latin American thing. The Central Europeans, the Czechs in particular. Yes.Felipe Torres Medina: Milan Kundera.Andrew Keen: Yeah. Written a series of wonderful books about this. But the only way to respond to someone like Trump, for example, who says one thing one day, the next thing the next day when he talks about tariffs, he says, well, I'm going to have 25%. And the next day, oh, I've decided I'm not going to have 25%. Then the following day he's going to change his mind again. The policy people, I'm not very helpful here. We need artists, satirists of one kind or another humorist like yourself to actually respond to this, don't we?Felipe Torres Medina: I think so. I think that that that is what. Helps you? I mean, it's the emperor has no clothes, right? That's how you talk. And it's about all kinds of government, obviously. Autocracy or dictatorship is one thing, but at all in all systems of government, these are powerful people who think they have they know better and who think that they are invincible. And you know what? What satire or humor and art does is just point out and say like, wait, that's weird. That thing they just did is weird. And being able to point that out is, is a talent. But also that's why people respond to it so well. People say like, yeah, that is weird. I also notice that. And so you create community, you create partnership in there. And so all of a sudden you're punching up, which is something you want to do in comedy. You want to make fun of the people who have more power, and you're all punching up and laughing at the same thing, and you're all kind of reminding each other. You're not crazy. This is weird.Andrew Keen: Yeah. I mean, the thing that worries me. I was on Kolber on the Colbert Show a few years ago in the original show. I mean, it's brilliant comic, very funny. But him and Jon Stewart and the others, they've been going so long, and they. I'm not saying they haven't changed their shtick. I mean, writers like you produce very high quality work for them, but it's one of the problems that these guys have been going for a while and America has changed, but perhaps they haven't.Felipe Torres Medina: I mean, it's an interesting thing to bring up, particularly with with Stephen, because his show was completely different. Ten years ago, it was a completely different show. He was doing a character. Yeah, right. And now he's doing a more traditional late night show. I think I think the format of late night is a very interesting beast that somehow has become A political genre. You know, it didn't used to be with Letterman. Didn't you see with Conan O'Brien, Jay Leno? You know, they would dabble in politics. They would talk about politics because it's what people are talking about. But now it's become kind of like this world. It all has to be satire. And there's some there's some great work. And I do think people keep innovating and making, like, new things, even though the shows are about ten years old. You know, you have Last Week Tonight, which my wife writes for, but it's a show that does more like deep dive investigations and stuff like that. So it's more like end of the week, 60 minutes, but with jokes kind of format. But I do think, yeah, maybe like the shows, can the shows in the genre in general, like there's genre I could do with some change and some mixing it up and.Andrew Keen: Well, maybe your friend Kumar could.Felipe Torres Medina: Yeah. Well, what? Let us get.Andrew Keen: A slot to his own late night show. And I wonder also, when it comes to I don't want to obsess over Trump or that course it's hard not to these days, but because he himself is a media star who most people know through his reality television appearance and he still behaves like a reality television star. Does that add another dimension of challenges to the satirical writers like yourself, and comics like or satirical comics like Colbert and Jon Stewart?Felipe Torres Medina: I think it's just a layer of how to interpret him as a person. At least for me, it's like, okay, well, you have to remember that he is a show man, and that's what he's doing.Andrew Keen: Yeah. So they're coming back to your your metaphor of the air and power and not having any clothes on. He kind of, in his own nodding wink way, acknowledges that he's not pretending to wear any clothes.Felipe Torres Medina: Yeah, and, well, sometimes he is and sometimes he isn't. And that is. That's the challenge. And that's why writing jokes about him every day is hard. But, you know, we we.Andrew Keen: And the more I know I watched Saturday Night Live last week that Zelensky thing and it was brilliant. Zelensky and Musk and Trump. But I'm very doubtful it actually impacts in any way on anything. Well, and I.Felipe Torres Medina: Think that that's also a misconception people have about comedy. You know, comedy is there to be funny. You know, comedy isn't there to change your mind if it does that, great. But the number one impetus for For Comedy should be to make you laugh. And so the idea that, like, a sketch show is going to change the nation. I don't know. Those are things that I think are applied on to comedy. They're kind of glob down to comedy. I don't necessarily think that that's what it the, the people making the comedy set out to do so. I think if if it made you laugh and if it works. The comedy has done its job. Comedy, unfortunately, can't change the world, you know. Otherwise, you know, I'm sure there would have been a very. There are many good Romanian comedians who could have done something about it has.Andrew Keen: You know, time to time. I mean, Hava became Czech president for a while. You, you, you know, that you sometimes see laugh, laughter and comedy as a kind of therapy when it comes to some of the stuff you do with Kovat. Are you in in America? Let me in. Are you presenting the experience, the heartbreaking experience? So certainly an enormously frustrating experience of the American immigration system as a kind of therapy, both for people who are experiencing it And outsiders, Americans in general.Felipe Torres Medina: And for myself, I think.Andrew Keen: And of course, yes. So self therapy, so to speak.Felipe Torres Medina: I think so, I mean, it is for me a way to like comedy is a way to process things for me. It comes naturally to me, and it is inopportune at times when dealing with things like grief and things like that. But I mean event, anyone who's gone through grief, I think, can tell you there's one moment when things are going really bad and one of the people grieving with you makes one joke and you all laugh and you're like, this. This somehow fixed for one second. It was great. And then we're back to sadness. So I think comedy, you know, as much as again, I go back to what I said a second ago, it's about making you laugh and that making you laugh can create that partnership, can create that empathy and that that that community therapy, I guess, of people saying like, oh wait, yeah, this is weird, this is strange. And I feel better that someone else recognized it, that someone else saw this.Andrew Keen: It certainly makes you saying, hey, you wrote an interesting piece for The New Yorker this week. In times like these, where you, you write perhaps satirically about what you call good Americans. Is the book written for good or bad Americans or all Americans or no Americans? Who do you want to read this book?Felipe Torres Medina: Oh my God. I want everyone to read it and everyone to buy a copy so that I've got a lot of money. All right. No, I think it's written for most Americans and and immigrants as well. People living here. But I do think, yeah, it's written for everyone. I don't think I wrote it with particular like, kind of group in mind. I think to me, Obviously with my background and my political affiliations, I think liberals will enjoy the book. But I also think, you know, people who are conservative, people who are MAGA, people who don't necessarily agree on my vision of immigration, can learn a lot from the book. And I purposely wrote it so that these people wouldn't necessarily be alienated or dismissed in any way. You know, it's a huge topic, and I think it was more of a like, I know you have an opinion. I'm just showing you some evidence. Make with it what you will, but I'm just showing you some evidence that it might not be as you believe it is, both for liberals and conservatives. You know, wherever you are on the spectrum, liberals think it's super easy. Conservatives that think it's super easy but in a bad way to move here. And I'm here kind of saying like, hey, it's actually this super complicated thing that maybe we should talk about and we should try to reform in some way.Andrew Keen: Yeah. And I think even when it comes to immigration, often people are talking about different things. Conservatives tend to be talking about quote unquote, illegal immigration and progressives talking about something else, too. You deal with people who try to get into America illegally, or is that for you, just a subject that you're not touching in this book?Felipe Torres Medina: I address it very lightly toward the final pages of the book. I first of all, I can, like, claim ownership on all immigrant narratives. And I wrote this about the legal immigration system because it's what I've navigated. Again, I am not an immigration lawyer. I am not an activist. I'm a comedy writer who happened to go through the immigration like system, so I but I did feel like, you know, okay, well, let's talk for a second. You've seen how hard it is because I've shown you all this evidence in the first couple stories in the book. And again, I say in the last pages because because of the interactive nature of the book, this could there is potentially a way for you for this to be the first, one of the first things you read in the book, but to where the last pages of the book, I say, okay, let's talk about you. We've seen how hard it is. Let's talk about the people who do so much to try and come here and who go even harder because they do it in the like, in the unauthorized way, you know, or the people who come here seeking asylum, which is a legal way to come to the United States, but is very difficult. So I do present that, but I do think it is not necessarily the subject of a comedy book, As I said earlier, when you're dealing with comedy, you want to be punching up. You want to be making fun of people in authority figures or in a sort of status position that is above the general population or the the voice of the comic. And with with undocumented immigrants and people trying to come here in irregular ways. It's it's very hard to find the humor there because these people are already suffering very much. And so to me, the line is threading the line of comedy there. It can very quickly turn into bullying or making fun of those people. And I don't want to do that because a lot of people are already doing that, and a lot of people who are already doing that work on this in this administration. So I don't I don't really want to mess with that.Andrew Keen: Philip, I'm not sure if you've got a a Spanish translation of the book. I'm sure there will be one eventually.Felipe Torres Medina: Hopefully.Andrew Keen: If people start reading this in Colombia, where you're from, Bolivia or Argentina, Mexico, El Salvador, Guatemala, they think themselves, this is so hard to get in, even legally. Even if you have money to pay for lawyers, they might think, well, f**k it, I'll just try and get over the border illegally. And do you think in a way, I mean, it's obviously designed as a humor book, but in a way this would encourage any sane person to actually give up. I mean, go try and try and go somewhere else or just stay where you are.Felipe Torres Medina: I think, I think the book has a tone of I'm I'm a pretty optimistic person. So I think the book does have a tone of optimism and love for America. I do love the United States, where I, while presenting it as a difficult thing, I am also saying, like it? It's pretty good. You're going to have a good time if you make it here. So I don't think it will be a deterrent. Whether it's some sort of Trojan horse to create more people, to try and go through the border. I don't know, it'd be pretty funny if a funny book tended ended up doing that, but.Andrew Keen: It'd be great if we just got hold of the book and blamed you for for for all the illegal immigrants. But in all seriousness, it was been a lot of pieces recently about, according to the New York Times, people going silent for fear of retribution. As a comic writer and someone clearly on the left, the progressive in American politics. Do you think that there is a new culture of fear by some of your friends and colleagues in the comedy business? Are they fearing retribution? Trump, of all people, doesn't like to be laughed that some people say that he he only wanted to be president after Obama so brilliantly and comically destroyed him a few years ago.Felipe Torres Medina: I think in comedy, you know, I think people are tired of talking of Trump because, again, as I said, ten years of writing about him. I don't think anyone is necessarily afraid of talking about him or making fun of him. I think that is or his administration. I think that is proven like this past week with explosion of memes, making fun of J.D. Vance, his face, you know, to the point where J.D. Vance has tried to hop on the meme and be like, ha ha! Yes, I enjoy this very much too. Good job members. So like, obviously, first of all, he doesn't like it, but I think everyone is. And I think this is something that America does so well. Americans like to make fun of politicians, period. And even though I think in certain spaces of, you know, politics and activism, there might be fear of retribution that is much more marked. I think the let's make fun of of the Emperor for having no clothes that make fun of them is an instinct that that it's not going away and it won't go away any, anytime soon.Andrew Keen: Philip, finally, you've written a funny book about immigration. But of course, behind all the humor is a seriousness. Lots of jokes. It's a very entertaining, amusing, creative book. But it also, I think, suggests reform. You've given a great deal of thought. You've experienced it yourself. How can America improve its immigration story so that we don't have in the future more satirical books like America Like Me and what are the the reforms, realistically, that can be made that even conservatives might buy into?Felipe Torres Medina: Well, I think one of the biggest things is, if you look at it historically, there hasn't been comprehensive immigration reform since Clinton. Which is ridiculous. You know, we're nearing on 30 years there, and we're. We're basically 30 years since. And, you know, I'm 33, so it's a whole lifetime for a lot of people with no changes to a system, no comprehensive changes to a system. And that just means that, like it is going to become outdated. So obviously it's very hard right now with the tenor, but what we really need is for people to sit down and talk about it as a normal issue. And this is not an invasion. This is not a national emergency. It is simply an issue, an economic issue. And I think one of the biggest things, and one of my personal suggestions is that. The US Citizenship and Immigration Service has always been, as I said, this kind of strange ancillary part of the government. It started as part of the Department of Labor, eventually joining the Department of Justice. Then it goes back to labor. It kind of always bounces around. They don't know where it fits. And in after 911, it became part of the Department of Homeland Security. And I think that creates a an aura around immigration as something that is threatening to homeland security. You know, which is not true.Andrew Keen: Yeah. I see what you're saying. It's become the the sex when it comes to, in the context of Victorian something that we don't talk about, and we use metaphors and similes to, to, to describe. And I take your point on that. But what about some and I take your point on the fact that the system hasn't been reformed since Clinton. But let's end with a couple of final, just Doable reforms, Philippe, that can actually make the experience better. That will improve that. That might be cheaper that the the Doge people might buy into that both left and right will accept and say, oh, that's fair enough. This is one way we can make immigrating to America a better experience.Felipe Torres Medina: I think, rewarding if we're talking about this idea of like, we want the best immigrants, educated people. I think actually rewarding that because the current system does not do that for most people trying to get a work visa. They're subjected to a lottery where the chances are something like 1 in 16 of getting a work visa to be here, and that is really bad for companies in general. It's something that the big tech firms have been lobbying against for years, and because there's no consensus in Congress to actually do something. We have been able to address that. So I think actually rewarding the kind of like higher education, high achievement immigrants. In a way that isn't just like if you have $5 million, you can buy a gold car. Yeah, and.Andrew Keen: That's what Trump promised.Felipe Torres Medina: Right? Actually rewarding it in a way that's like, okay, well, if you have a college degree, maybe you don't just get a one year permit to work here, you know, maybe you can. There is a path for you to if you made your education here, if you start your professional life here, if you are contributing because all these immigrants are paying taxes or contributing, maybe there's a path that isn't as full of trapdoors and pitfalls. I would say that that that's one of the biggest things. And honestly, higher up, like I, I do think maybe this is my progressive side of me, but it's like get more people working in USCIS so that these waits aren't taking forever and getting more immigration judges, you know, hire people who are going to make this system efficient, because that is, I think, unfortunately, what Dodge thinks that the, you know, we're going to slim it down so it doesn't cost that much. Yeah. But if you slam it down, you don't have enough people. And there's a lot of people are still trying to come here and they're still trying to do things. And if you don't have enough people like working those cases, all you're creating is backlogs.Andrew Keen: Yeah. I'm guessing when those transforms the American immigration system through AI, you'll have another opportunity for you to write a book. Yeah. I mean, I let me in an important book, a very funny book, but also a very serious book by one of America's leading young comic writers full time, writing for Stephen Colbert, Philippe Torres Medina. Philippe, congratulations on the book. It's out next week. I think it will become a bestseller. Important book. Very funny too, and we can say the same about you. Thank you so much.Felipe Torres Medina: Thank you so much for having me.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

We are back to AI (actually it never left us). In this THAT WAS THE WEEK tech show, Keith and Andrew talk about how AI is now enabling anyone - even non-coders - to code. "I was able to do something without having the skill to do it,” Keith confesses about his experience in building an iPhone app for teens. In the same way as Web 2.0 technologies turned all of us into broadcasters, AI makes all of us coders. So the real question is what becomes of professional coders when their skills are accessible to anyone.The Five KEEN ON AMERICA takeaways from today’s show:* AI is enabling coding autonomy: Keith built an app for teens without writing code himself, highlighting how AI is making software development accessible to non-coders. As Keith puts it: "I was able to do something without having the skill to do it."* The future of coding is paradoxical: Rather than the "end of coding," Keith believes we're seeing "the beginning of coding" with potentially "100 to 1 million times more code" being created because it's becoming easier to produce. Similar to how desktop publishing tools didn't end design, but democratized it.* The workplace is evolving toward automation: Keith discusses how the post-COVID move away from traditional offices is the first step toward automated workplaces. He borrows from Dwaresh Patel in exploring what fully automated firms might look like.* Technical skills remain valuable but in new ways: While AI can generate code, understanding technical concepts remains important. Keith's son without coding skills provided valuable product feedback as a "product manager," showing that different skills are becoming complementary to AI capabilities.* AI agents are transforming enterprise software: Aaron Levy's post-of-the-week suggests AI agents will replace traditional enterprise software modules, performing tasks without human intervention while achieving the same goals that previously required clunkier software and human oversight. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

So what’s the most revolutionary invention in the history of the American Republic? The internet, maybe? Or the electric bulb or the motor car? Perhaps. But according to the Harvard historian Joyce Chaplin, it might be the Franklin Stove, Benjamin Franklin’s innovation which she claims in an eponymous new book, represents an unintentional American revolution. What’s really important about the Franklin Stove, she explains, is that it democratized heating, thereby enabling ordinary Americans to survive the “Little Ice Age” of the late 18th century. In an 21st century America where research into global warming is now under threat, Chaplin’s intriguing The Franklin Stove is a convincing argument for the popular benefits of environmental science.Here the 5 Keen On America takeaways in our conversation with Joyce Chaplin* Franklin as a climate scientist: Chaplin reveals how Benjamin Franklin's work with his stove led him to understand atmospheric convection, which he then applied to explain larger climate systems like storm movements and the Gulf Stream. He essentially became an early climate scientist through his practical inventions.* The Little Ice Age context: Franklin invented his stove during the Little Ice Age (1300-1850), particularly in response to the severe winter of 1740-41. Unlike today's climate crisis, there was virtually no "denialism" about climate change during this period - people openly discussed and sought solutions to the cooling climate.* Franklin's environmental legacy: While Franklin initially created his stove to conserve wood and trees in Pennsylvania, his later models burned coal. This shift toward fossil fuels contributed to what Chaplin calls "an unintended industrial revolution" that ultimately led to our current climate warming crisis.* Franklin's political evolution: Though a monarchist for most of his life, Franklin underwent a radical transformation later in life, becoming head of Pennsylvania's abolition society after having previously owned enslaved people. This challenges the notion that historical figures were simply "products of their time."* Franklin's complex character: Chaplin, who has written extensively on Benjamin Franklin, portrays him as a self-cultivating narcissist who carefully crafted his public image and desperately sought fame from a young age. However, she acknowledges his genuine accomplishments and contributions to science and society, creating a more nuanced view of the founding father.Joyce E. Chaplin is the James Duncan Phillips Professor of Early American History at Harvard University, where she also holds affiliations with the Graduate School of Design and Center for the Environment. She is the author of The First Scientific American: Benjamin Franklin and the Pursuit of Genius, among other books, and her writing has appeared in The New York Times, The Washington Post, The Wall Street Journal, and the London Review of Books. She lives in Cambridge, Massachusetts.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Award-winning reporter Kevin Fagan is one of San Francisco’s great treasures. In his much acclaimed new book, The Lost and Found, Fagan tells his his two-decade experience reporting about homelessness in San Francisco. He shares the stories of Tyson and Rita, two homeless individuals who he helped reconnect with their families. Tyson, despite having a supportive family, died of a fentanyl overdose, while Rita was rescued by her family and lived 20 more fulfilling years. Fagan, who experienced housing insecurity as a teenager, explains that homelessness stems from systemic poverty issues rather than personal failings. He notes that despite San Francisco's reputation as America’s “homeless central”, 70% of its homeless population lost their homes while already living there.Here are the 5 KEEN ON AMERICA takeaways from our conversation with Fagan:* Personal connection to homelessness shapes Fagan's perspective - his own experience with housing insecurity as a youth gives him unique insight and empathy toward homeless individuals.* Homelessness is not simply a choice - Fagan emphasizes that "no one wants to be homeless" and many fall into homelessness through a combination of trauma, mental illness, addiction, and economic factors.* Family intervention can be transformative - Rita's story demonstrates how family reconnection (which inspired San Francisco's "Homeward Bound" program) can successfully help people exit homelessness.* San Francisco's homeless reputation is somewhat misunderstood - despite being known as "Homeless Central," about 70% of San Francisco's homeless population became homeless while already living in the city.* Solutions require addressing systemic poverty - Fagan argues that homelessness is fundamentally a poverty problem in America, requiring broader economic solutions beyond what individual cities can accomplish alone.Kevin Fagan is a longtime, award-winning reporter at the San Francisco Chronicle, specializing in homelessness, enterprise news-feature writing, breaking news and crime. He has ridden with the rails with modern-day hobos, witnessed seven prison executions, written extensively about serial killers including the Unabomber, Doodler and Zodiac, and covered disasters ranging from the Sept. 11 terror attacks at Ground Zero to California’s devastating wildfires. Homelessness remains a core focus of his, close to his heart as a journalist who cares passionately about the human condition. His book on the rescue of two homeless people, “The Lost and The Found,” is available everywhere books are sold.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

What do Fareed Zakaria, Nikki Haley, Microsoft CEO Satya Nadella, Google CEO Sundar Pichai, Vinod Khosla and Kamala Harris all have in common? They are all, of course, highly successful Americans of Indian descent. According Meenakshi Ahamed, author of Indian Genius, one reason for what she calls the “meteoric rise” of Indians in America are their humble beginnings here. Arriving with minimal resources (what she calls the "$8 club"), Ahamed attributes their success to "jugaad" (resourcefulness), competitive spirit, family values, and an emphasis on education. She notes Indians are America's fastest-growing immigrant group, with traditionally Democratic voting patterns, though a 10% shift toward Republicans occurred in recent elections. So what are the chances that Trump will read Indian Genius to understand the upside of immigration to America? Less than zero, of course. 5 Key Takeaways * Successful Immigration Counter-Narrative: Ahamed's book presents a counter-narrative to anti-immigrant rhetoric, showcasing how Indian Americans have made significant contributions to American society, particularly in medicine, technology, and business.* The "$8 Club" Phenomenon: Many successful Indian immigrants came to America with extremely limited resources (just $8 due to India's currency restrictions) yet achieved remarkable success through determination, education, and hard work.* "Jugaad" Mindset: Ahamed attributes much of Indian immigrants' success to "jugaad" - a resourcefulness and ability to create something from nothing, developed in India's competitive environment where people must constantly find ways to get ahead.* Generational and Class Dynamics: Earlier Indian immigrants (1965-2010) typically came from upper castes with access to education, though this is changing. Additionally, Ahamed notes differences between first-generation immigrants like Vinod Khosla and later arrivals like Nadella and Pichai.* Shifting Political Allegiances: While Indian Americans traditionally voted 75% Democratic, Ahamed notes a recent 10% shift toward Republicans, particularly among younger Indian American men born in the US, reflecting broader demographic voting patterns.Meenakshi Ahamed was born in 1954 in Calcutta, India. After finishing school in India, she obtained an MA from Johns Hopkins University's School of Advanced International Studies in 1978. She has had a varied career as a journalist, and prior to that, as a development consultant. She has worked at the World Bank in Washington, DC, as well as for the Ashoka Society. In 1989, she moved to London and became the foreign correspondent for New Delhi Television (NDTV). After returning to the United States in 1996, she worked as a freelance journalist. Her op-eds and articles have been published in the Asian Age, Seminar, Foreign Policy, the Wall Street Journal, and the Washington Post. She has served on the board of Doctors Without Borders, the Turquoise Mountain Foundation, and Drugs for Neglected Diseases. She divides her time between the United States and India.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

America, to borrow a word from last week’s guest Yoni Appelbaum, is “stuck”. And so the American Dream, for most stuck Americans, is dead. Our guest today, the social entrepreneur Nicholas Lalla, agrees with Appelbaum. The American Dream might still be alive in privileged coastal communities, Lalla argues in his new book Reinventing the Heartland, but it needs resurrection elsewhere. Defining the American Dream as doing better than one's parents and having financial security, Lalla highlights Tulsa, Oklahoma as a model for mid-sized cities seeking economic revival through tech-focused development. Rather than emulating Silicon Valley, he advocates for cities finding their own "tech niche" based on local strengths. Tulsa's success comes from strategic investments, Lalla explains, the "Tulsa Remote" program offering $10,000 incentives to relocate, and comprehensive community development initiatives.Here are the 5 Keen on America takeaways from our conversation with Lalla:* The American Dream is geographically divided - Lalla believes the American Dream is thriving mainly in coastal tech hubs but fading in heartland communities, creating economic anxiety and social division.* Cities need to find their "tech niche" - Rather than trying to replicate Silicon Valley, mid-sized cities should identify and invest in specific tech sectors that build on their existing strengths and legacy industries.* Tulsa's model is working - Through strategic investments and initiatives like Tulsa Remote ($10,000 relocation incentives), Tulsa has successfully attracted tech talent and is on track to create 20,000 tech jobs over the next decade.* Local investment trumps waiting for government aid - Tulsa's transformation began with local philanthropic funding (particularly from the George Kaiser Family Foundation) before attracting corporate and federal investment.* Mid-sized cities offer competitive advantages - Despite lacking some big-city amenities, places like Tulsa provide benefits including lower cost of living, homeownership opportunities, outdoor activities, and the chance to participate in meaningful community development.NICHOLAS LALLA is an urbanist and social entrepreneur, working at the intersection of economic development and emerging technology. He is the author of Reinventing the Heartland, forthcoming from HarperCollins in March 2025. Lalla founded Tulsa Innovation Labs, an organization deploying over $200 million to build northeast Oklahoma’s innovation economy. He previously led Cyber NYC for the New York City Economic Development Corporation, a cybersecurity initiative The New York Times called “among the nation’s most ambitious…” Earlier in his career, at the Urban Land Institute, he launched a national resilience program for cities combatting the effects of climate change. Lalla has written for Newsweek, Fast Company, Stanford Social Innovation Review, and Next City, among other outlets. He can be found online at nicholaslalla.com.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

What one word describes how Donald Trump thinks about the world? According to both the Atlantic writer Jonathan Rauch and UC Irvine professor Jeffrey Kopstein, that word is “patrimonialism” - a rather stodgy sociological term meaning that Trump wants to be the Godfather. Everything under Trump is personal, Rauch and Kopstein explain. Thus, for example, his public bullying of Zelenskyy and his vindictive announcement today of “pausing” military aid to Ukraine. The personal is the political used to be a rallying cry of the counterculture. With Trump, according to Rauch and Kopstein, the political is, by definition, personal. The public realm no long exists. And so Trump’s patrimonial ideology means that holding political power requires him to be The Godfather. The only question is whether that means becoming Don Corleone or Marlon Brando. I suspect both.Here are the 5 Keen on America takeaways from our conversation with Rauch and Kopstein:* Patrimonialism as Trump's governing model: The experts argue that Trump is implementing a patrimonial system of government where the state is treated as his personal property and family business. Loyalty to Trump as an individual supersedes institutional structures and processes, similar to how a mafia boss operates.* The systematic dismantling of bureaucracy: According to Kopstein and Rauch, the current administration is in a "demolition phase" where Trump and allies like Elon Musk are working to dismantle the modern bureaucratic state. This isn't simply about reducing government size but about replacing merit-based systems with personal loyalty networks.* The corruption inherent in patrimonial systems: In patrimonial systems, the distinction between public and private resources becomes blurred. The experts suggest that what we would call corruption (using public office for private gain) becomes normalized as the ruler sees state resources as personal property.* Cultural reaction against modernity: Kopstein argues there's a cultural dimension to this shift, with Trump's patrimonialism appealing to those uncomfortable with rapid social changes in modern society, particularly around issues of gender, sexuality, and cultural diversity.* The strategy for opposition: Rauch suggests that opponents should focus on exposing corruption as the most effective strategy against patrimonial systems. In the longer term, they argue for demonstrating how effective government bureaucracies actually benefit citizens' daily lives and for developing better policy ideas.Jonathan Rauch is a contributing writer at The Atlantic and a senior fellow in the Governance Studies program at the Brookings Institution. His latest book, Cross Purposes: Christianity’s Broken Bargain with Democracy, was published in January 2025.Jeffrey Kopstein is Dean’s Professor of Political Science at the University of California, Irvine. In his research, Professor Kopstein focuses on interethnic violence, voting patterns of minority groups, antisemitism, and anti-liberal tendencies in civil society. These interests are central topics in his latest books, Intimate Violence: Anti-Jewish Pogroms on the Eve of the Holocaust (Cornell University Press, 2018), Politics, Memory, Violence: The New Social Science of the Holocaust (Cornell University Press, 2023), and The Assault on the State: How the Global Attack on Modern Government Endangers our Future (Polity, 2024).Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

John Lechner, an international war reporter and author of "Death Is Our Business," dives deep into the perilous world of Russian mercenaries, particularly the Wagner Group. He reveals the troubling privatization of warfare, drawing parallels with Western contractors like Blackwater. Lechner discusses Yevgeny Prigozhin's audacious rise and rebellion against Putin, emphasizing how mercenaries reflect the human rights practices of the governments that hire them. He also delves into Wagner's brutal tactics in Ukraine and its grim global influence.