Thursday, February 19, 2026

NUTLICK

 





> Wall Street vulture who survived 9/11 by dropping his kid at kindergarten for the first time ever

> while 658 of his employees got vaporized upstairs > Rebuilt Cantor Fitzgerald into a personal piggy bank, allegedly pocketing chunks of the 9/11 insurance payout while families fought for scraps > Next-door neighbor to Epstein on East 71st, bought the adjoining mansion cheap from Wexner-linked trusts, ran joint ventures with the pedo until at least 2014 > Flew the whole family including wife, four kids, nannies to Little St. James for a "family lunch" in 2012, years after Epstein's conviction > Sister was a "Founding Citizen" of Ghislaine Maxwell's scam TerraMar—a real tight-knit crew > Zero gag reflex, spends every TV hit fellating Trump harder than a Mar-a-Lago waitress chasing tips > Turned Cantor into Tether's favorite laundry service, custodies billions in shady stablecoin reserves despite allegations of terrorist financing > short and bald, just an all-around awful look > Pumps Bitcoin treasury scams and crypto SPACs with SoftBank, all while playing Commerce Secretary and threatening tariffs that juice his own book > turned Cantor into a walking conflict of interest, puts his sons with zero real experience in charge > laughs hysterically any time 9/11 is mentioned, claims it was a “tragedy”

He Studied Cognitive Science at Stanford. Then He Wrote a Startling Play About A.I. Authoritarianism.


Michelle Goldberg

He Studied Cognitive Science at Stanford. Then He Wrote a Startling Play About A.I. Authoritarianism.

Feb. 16, 2026

A man talks on a cellphone in a blue-lighted room with a desk and chair.

Karan Brar, who plays Maneesh in “Data.”Credit...Rachel Papo for The New York Times

 

By Michelle Goldberg

Opinion Columnist

When I saw “Data,” a zippy Off Broadway play about the ethical crises of employees at a Palantir-like A.I. company, last month, I was struck by its prescience. It’s about a brilliant, conflicted computer programmer pulled into a secret project — stop reading here if you want to avoid spoilers — to win a Department of Homeland Security contract for a database tracking immigrants. A brisk theatrical thriller, the play perfectly captures the slick, grandiose language with which tech titans justify their potentially totalitarian projects to the public and perhaps to themselves.

“Data is the language of our time,” says a data analytics manager named Alex, sounding a lot like the Palantir chief Alex Karp. “And like all languages, its narratives will be written by the victors. So if those fluent in the language don’t help democracy flourish, we hurt it. And if we don’t win this contract, someone else less fluent will.”

I’m always on the lookout for art that tries to make sense of our careening, crises-ridden political moment, and found the play invigorating. But over the last two weeks, as events in the real world have come to echo some of the plot points in “Data,” it’s started to seem almost prophetic.

Its protagonist, Maneesh, has created an algorithm with frighteningly accurate predictive powers. When I saw the play, I had no idea whether such technology was really on the horizon. But this week, The Atlantic reported on Mantic, a start-up whose A.I. engine outperforms many of the best human forecasters across domains from politics to sports to entertainment.

I also wondered how many of the people unleashing A.I. tools on us really share the angst of Maneesh and his co-worker, Riley, who laments, “I come here every day and I make the world a worse place.” That’s what I think most people who work on A.I. are doing, but it was hard to imagine that many of them think that, immersed as they are in a culture that lauds them as heroic explorers on the cusp of awe-inspiring breakthroughs in human — or maybe post-human — possibility. As a New York magazine review of “Data” put it, “Who gets so far at work without thinking through — and long since justifying — the consequences?”

But last week, Mrinank Sharma, a safety researcher at Anthropic, quit with the sort of open letter that would have seemed wildly overwrought in a theatrical script. “The world is in peril,” he wrote, describing constant pressure at work “to set aside what matters most.” Henceforth, said Sharma, he would devote himself to “community building” and poetry. Two days later ZoĆ« Hitzig, a researcher at OpenAI, announced her resignation in The New York Times, describing the way the tool could use people’s intimate data to target them with ads.

I reached out to the writer of “Data,” Matthew Libby, because I was curious about how he got so much so right, and learned that before he worked in theater, he studied cognitive science at Stanford. More specifically, he has a degree in symbolic systems, an interdisciplinary program that combines subjects including computer science, philosophy and psychology. He always intended to be a writer, he said, but wanted to make sure he had something to write about.

Not surprisingly, Libby, who graduated in 2017, felt the pull of Silicon Valley, at one point interviewing for an internship at Palantir. He was heartbroken when he didn’t get it. But when he came across a 2017 Intercept story headlined “Palantir Provides the Engine for Donald Trump’s Deportation Machine,” he wondered what he would have done if he’d worked there, which is how “Data” was born.

Perhaps the most interesting thing about “Data” isn’t its insight into those who leave companies making dangerous A.I., but into the majority who stay, and the stories they tell themselves about what they’re building. “My experience of the tech industry is just that there’s always this air of inevitability,” said Libby. “You know, ‘We can’t pause any of this because it’s coming no matter what, and don’t you want to be the person doing it?’”

Among technologies, A.I. is unique in that those who are creating it — and profiting off it — will from time to time warn that it could destroy humanity. As Sam Altman said in 2015, shortly before helping found OpenAI, “I think that A.I. will probably, most likely, sort of lead to the end of the world. But in the meantime, there will be great companies created with serious machine learning.” A slightly truncated version of that quote appears as an epigraph in Libby’s script.

Just last month Dario Amodei, who leads Anthropic, the most seemingly responsible of the A.I. giants, published an essay titled “The Adolescence of Technology,” about potential A.I. apocalypses. A.I. systems, he wrote, could turn against humankind or help to create biological weapons. They could be used to build a digital panopticon more comprehensive than anything existing today, or develop propaganda so precisely tailored to its users that it would amount to brainwashing.

But as Amodei sees it, these hellish possibilities are less reasons to slow A.I. development, or to keep it out of the hands of the surveillance state, than to make sure that the United States stays ahead of China. “It makes sense to use A.I. to empower democracies to resist autocracies,” he wrote. “This is the reason Anthropic considers it important to provide A.I. to the intelligence and defense communities in the U.S. and its democratic allies.” His argument would be sounder if the United States were still, in any meaningful sense, part of a coalition of democracies, rather than a nation ruled by an aspiring autocrat who is propped up in no small part by the tech industry.

In “Data,” Alex makes a similar argument for bidding on the Department of Homeland Security contract. “We’re the fighters protecting democracy,” he says. “China already has an automated social credit system they’re exporting to developing nations. Russia has the most targeted disinformation infrastructure known to man. That’s what they’re innovating towards. If we stop innovating? We lose our lead.” The threat of authoritarianism abroad becomes a rationale for building the tools of digital authoritarianism at home. Too bad it’s not just fiction.

HEATHER

 

Please, oh please(!), send Cabinet secretaries to swing districts to campaign for Republicans in 2026

 

Stephen Colbert and the First Amendment

 

Stephen Colbert and the First Amendment

As if CBS hasn’t drawn enough fire for tampering with 60 Minutes’ journalistic integrity, on Monday, Stephen Colbert shared that he was told by the network’s lawyers that he couldn’t have Texas Democrat James Talarico, who is running in a contested primary for the U.S. Senate, on his show because of Federal Communications Commission (FCC) rules that require broadcasters to give “equal time” to opposing political candidates.

So, Colbert put the segment on YouTube, where it has garnered almost 7 million views as of tonight. That’s closing in on three times as many views as the show typically gets on CBS.

CBS issued a statement on Tuesday claiming Colbert was “not prohibited” from broadcasting the interview. They said he received “legal guidance” that airing it could trigger the equal time rule, which requires opposing political views to be shown on network TV. The statement said that Colbert was “presented options for how the equal time for other candidates could be fulfilled.”

Colbert pointed out that he’d had Talarico’s primary opponent, Jasmine Crockett, on his show. But this is obviously about the Democratic nominee’s eventual Republican challenger. That could be incumbent John Cornyn or Ken Paxton—they’re currently locked in a tight primary race. But either way, here’s the thing: Does anyone think Colbert wouldn’t relish having either Cornyn or Abbott on his show?

Using the equal time rule as a dodge for suppressing political speech is almost expected at this point in the Trump administration. But there’s rarely been a time in our nation’s history when the First Amendment mattered more.

Justice Louis Brandeis: "If there be time to expose through discussion... the remedy to be applied is more speech, not enforced silence."

Benjamin Franklin: “Freedom of speech is a principal pillar of a free government: When this support is taken away, the constitution of a free society is dissolved.”

Justice William J. Brennan Jr.: “If there is a bedrock principle underlying the First Amendment, it is that the government may not prohibit the expression of an idea simply because society finds the idea itself offensive or disagreeable.”

George Orwell: "If liberty means anything at all it means the right to tell people what they do not want to hear."

Then there’s Donald Trump. He has frequently called media outlets "dishonest" and the "enemy of the American people." He has attacked individual journalists over questions he doesn’t want to answer (“Quiet, Piggy”) and unfavorable coverage. In his second term, Trump barred The Associated Press from the press pool because it continued to call the Gulf of Mexico “the Gulf of Mexico” after Trump renamed it the Gulf of America.

Suffice it to say, Trump is no fan of the First Amendment, despite having sworn the oath of office, which requires him to “take Care that the Laws be faithfully executed,” which includes the First Amendment.

Colbert’s show has already been canceled. That happened shortly after he criticized CBS’s parent company, Paramount, for handing Trump a $16 million bribe when it settled Trump’s lawsuit against 60 Minutes, which accused the show of deceptively editing an interview with Kamala Harris during the campaign. Paramount was attempting a merger with entertainment company Skydance at the time, and it needed the administration’s sign off to make it happen. That came less than a month after Colbert was canned. The merger went through.

Trump, even after Colbert’s show was canceled, can’t seem to leave it alone. He posted this in December 2025.

So much for the sanctity of the First Amendment.

I adore Stephen Colbert. During the 2008 and 2012 presidential election cycles, my husband and I made it a ritual to watch The Daily Show and The Colbert Report every night. They kept us sane. (Full disclosure: We also made it through every season of NCIS and Supernatural). My only real regret from my book tour is not getting invited onto The Late Show with Stephen Colbert. (Stephen, I’m still out here if you ever need a last-minute fill-in guest!)

Since the first of the year, a Washington Post reporter's home has been searched. Don Lemon, the former CNN host who is now an independent journalist, has been indicted for his coverage of ICE in Minneapolis. This administration is doing everything it can to intimidate the media from reporting on it.

The FCC administers rules and regulations regarding access to airwaves by political candidates. Section 315(a) of the Communications Act of 1934 requires stations to give "equal opportunities to all other such candidates for that office" if they permit a candidate for public office "to use a broadcasting station." Violating FCC rules can cost a station’s owner their license.

But the rule has exceptions, including for when a candidate appears on a "bona fide newscast" or in "on-the-spot coverage of bona fide news events." News interviews are typically excepted. Then, last month, the FCC issued a Public Notice warning television broadcasters that news interviews with political candidates conducted “on a program that is motivated by partisan purposes” are not exempt from the rule.

Trump’s FCC Chair, Brendan Carr, wrote the Project 2025 chapter on the FCC. We talked about that here, back in November of 2024. I wrote that Carr claimed that “bipartisanship on the FCC is a matter of tradition, not law, suggesting without coming out and saying it that Trump could change that. The FCC regulates radio, television, wire, satellite, and cable networks. In response to an LA Times tweet, suggesting Carr might ‘make life more difficult’ for media companies, Carr confirmed it, suggesting he could take away broadcast licenses from media companies that don’t ‘operate in the public interest.’ That’s preparation for authoritarianism.”

That has turned out to be the case.

It was Colbert who coined the term “Truthiness” in his first show on October 17, 2005. It became the word of the year in 2006, and proved prescient when Trump advisor Kellyanne Conway insisted the new administration was entitled to its own “alternative facts” shortly after Trump’s first inauguration, when the president insisted his crowd size was bigger than it was.

Life imitating art.

The last episode of Colbert’s late night show will run in May—CBS called it a “financial decision.” But canceling a top-rated show doesn’t make much financial sense. And our public discourse will be the poorer for it.

Colbert’s handling of this incident is illustrative. “Because my network clearly doesn’t want us to talk about this, let’s talk about this,” he said, claiming CBS attorneys were caving to “guidance” from the FCC. “Let’s just call this what it is. Donald Trump’s administration wants to silence anyone who says anything bad about Trump on TV, because all Trump does is watch TV.”

Your paid subscription makes Civil Discourse possible—independent, informed analysis that connects the dots between law, politics, and the truth. In a moment when noise drowns out reason, your support ensures facts and context still have a home. Join a community that refuses to give up on democracy—or on understanding it.

We’re in this together,

Joyce

Total Pageviews

GOOGLE ANALYTICS

Blog Archive