The Marquis de Sade's guide to cancel culture
In theology, being condemned to perdition may sound a lot like going to hell, but it's much worse than spending eternity amid fire and brimstone. Those who believe in the survival of the soul after death shudder at the gravity of perdition: the total dissolution of one's existence even in spiritual form. In our increasingly soulless secular age, there's an attempt at a similar punishment: We call it cancellation.
The concept derives from television — that which befalls series and shows with bad ratings, yanked by broadcast networks, never to be seen again. Its first use in popular culture in that sense may have been in the lyrics of "Your Love Is Canceled," by the disco-funk group Chic ("Well I saw it on TV 'bout someone like me'). The song's from 1981, but cancellation as we know it really got going this century. Today, it's a pile-on of blaming and shaming in our social media public squares that often leads to the target's commercial or career oblivion. The courts can also get involved to mete out justice. The vitriol makes it much more hellish than old-fashioned consumer boycotts.
Some of the most spectacular examples involve fans turning against their idols. The most recent is graphic novel icon Neil Gaiman, who has received massive condemnation after lurid stories emerged alleging sexual assault and harassment on his part. He has denied the allegations and there are no criminal charges filed against him. Nevertheless, the furor has convinced publishers to avoid or drop Gaiman, who has become a multimillionaire from his oeuvre of close to 50 novels and comic books. HarperCollins and W.W. Norton, which have successfully published his books before, said they have no plans with the British author. In late January, Dark Horse Comics announced it wouldn't release the last volume of its illustrated version of his 2005 fantasy novel "Anansi Boys." A test of how many fans remain will come later this year when Netflix debuts its second season of "The Sandman," which is based on Gaiman's bestselling comic books.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Japan Today
an hour ago
- Japan Today
Frederick Forsyth, 'Day of the Jackal' author, dies at 86
FILE PHOTO: British novelist Frederick Forsyth smiles during an interview with Reuters at his home near Hertford, England, July 26, 2006. REUTERS/Kieran Doherty (BRITAIN)/File Photo By Guy Faulconbridge British novelist Frederick Forsyth, who authored best-selling thrillers such as "The Day of the Jackal" and "The Dogs of War," has died aged 86, his publisher said. A former correspondent for Reuters and the BBC, and an informant for Britain's MI6 foreign spy agency, Forsyth made his name by using his experiences as a reporter in Paris to pen the story of a failed assassination plot on Charles de Gaulle. "The Day of the Jackal", in which an English assassin, played in the film by Edward Fox, is hired by French paramilitaries angry at de Gaulle's withdrawal from Algeria, was published in 1971 after Forsyth found himself penniless in London. Written in just 35 days, the book was rejected by a host of publishers who worried that the story was flawed and would not sell as de Gaulle had not been assassinated. De Gaulle died in 1970 from a ruptured aorta while playing Solitaire. But Forsyth's hurricane-paced thriller complete with journalistic-style detail and brutal sub-plots of lust, betrayal and murder was an instant hit. The once poor journalist became a wealthy writer of fiction. "I never intended to be a writer at all," Forsyth later wrote in his memoire, "The Outsider - My Life in Intrigue". "After all, writers are odd creatures, and if they try to make a living at it, even more so." So influential was the novel that Venezuelan militant revolutionary Illich Ramirez Sanchez, was dubbed "Carlos the Jackal". Forsyth presented himself as a cross between Ernest Hemingway and John le Carre - both action man and Cold War spy - but delighted in turning around the insult that he was a literary lightweight. "I am lightweight but popular. My books sell," he once said. His books, fantastical plots that almost rejoiced in the cynicism of an underworld of spies, criminals, hackers and killers, sold more than 75 million copies. Behind the swashbuckling bravado, though, there were hints of sadness. He later spoke of turning inwards to his imagination as a lonely only child during and after World War Two. The isolated Forsyth discovered a talent for languages: he claimed to be a native French speaker by the age of 12 and a native German speaker by the age of 16, largely due to exchanges. He went to Tonbridge School, one of England's ancient fee-paying schools, and learned Russian from two emigre Georgian princesses in Paris. He added Spanish by the age of 18. He also learned to fly and did his national service in the Royal Air Force where he flew fighters such as a single seater version of the de Havilland Vampire. Impressing Reuters' editors with his languages and knowledge that Bujumbura was a city in Burundi, he was offered a job at the news agency in 1961 and sent to Paris and then East Berlin where the Stasi secret police kept close tabs on him. He left Reuters for the BBC but soon became disillusioned by its bureaucracy and what he saw as the corporation's failure to cover Nigeria properly due to the government's incompetent post-colonial views on Africa. It was in 1968 that Forsyth was approached by the Secret Intelligence Service, known as MI6, and asked by an officer named "Ronnie" to inform on what was really going on in Biafra. By his own account, he would keep contacts with the MI6, which he called "the Firm", for many years. His novels showed extensive knowledge of the world of spies and he even edited out bits of The Fourth Protocol (1984), he said, so that militants would not know how to detonate an atomic bomb. His writing was sometimes cruel, such as when the Jackal kills his lover after she discovers he is an assassin. "He looked down at her, and for the first time she noticed that the grey flecks in his eyes had spread and clouded over the whole expression, which had become dead and lifeless like a machine staring down at her." After finally finding a publisher for "The Day of the Jackal," he was offered a three-novel contract by Harold Harris of Hutchinson. Next came "The Odessa File" in 1972, the story of a young German freelance journalist who tries to track down SS man Eduard Roschmann, or "The Butcher of Riga". After that, "The Dogs of War" in 1974 is about a group of white mercenaries hired by a British mining magnate to kill the mad dictator of an African republic - based on Equatorial Guinea's Francisco Macias Nguema - and replace him with a puppet. The New York Times said at the time that the novel was "pitched at the level of a suburban Saturday night movie audience" and that it was "informed with a kind of post‐imperial condescension toward the black man". Divorced from Carole Cunningham in 1988, he married Sandy Molloy in 1994. But he lost a fortune in an investment scam and had to write more novels to support himself. He had two sons - Stuart and Shane - with his first wife. His later novels variously cast hackers, Russians, al Qaeda militants and cocaine smugglers against the forces of good - broadly Britain and the West. But the novels never quite reached the level of the Jackal. A supporter of the United Kingdom's exit from the European Union, Forsyth scolded Britain's elites for what he cast as their treachery and naivety. In columns for The Daily Express, he gave a host of withering assessments of the modern world from an intellectual right-wing perspective. The world, he said, worried too much about "the oriental pandemic" (known to most as COVID-19), Donald Trump was "deranged", Vladimir Putin "a tyrant" and "liberal luvvies of the West" were wrong on most things. He was, to the end, a reporter who wrote novels. "In a world that increasingly obsesses over the gods of power, money and fame, a journalist and a writer must remain detached," he wrote. "It is our job to hold power to account." © Thomson Reuters 2025.
The Mainichi
2 days ago
- The Mainichi
David Attenborough's 'Ocean' is a brutal, beautiful wake-up call from the sea
NICE, France (AP) -- An ominous chain unspools through the water. Then comes chaos. A churning cloud of mud erupts as a net plows the seafloor, wrenching rays, fish and a squid from their home in a violent swirl of destruction. This is industrial bottom trawling. It's not CGI. It's real. And it's legal. "Ocean With David Attenborough" is a brutal reminder of how little we see and how much is at stake. The film is both a sweeping celebration of marine life and a stark expose of the forces pushing the ocean toward collapse. The British naturalist and broadcaster, now 99, anchors the film with a deeply personal reflection: "After living for nearly a hundred years on this planet, I now understand that the most important place on Earth is not on land, but at sea." The film traces Attenborough's lifetime -- an era of unprecedented ocean discovery -- through the lush beauty of coral reefs, kelp forests and deep-sea wanderers, captured in breathtaking, revelatory ways. But this is not the Attenborough film we grew up with. As the environment unravels, so too has the tone of his storytelling. "Ocean" is more urgent, more unflinching. Never-before-seen footage of mass coral bleaching, dwindling fish stocks and industrial-scale exploitation reveals just how vulnerable the sea has become. The film's power lies not only in what it shows, but in how rarely such destruction is witnessed. "I think we've got to the point where we've changed so much of the natural world that it's almost remiss if you don't show it," co-director Colin Butfield said. "Nobody's ever professionally filmed bottom trawling before. And yet it's happening practically everywhere." The practice is not only legal, he adds, but often subsidized. "For too long, everything in the ocean has been invisible," Butfield said. "Most people picture fishing as small boats heading out from a local harbor. They're not picturing factories at sea scraping the seabed." In one harrowing scene, mounds of unwanted catch are dumped back into the sea already dead. About 10 million tons (9 million metrics tonnes) of marine life are caught and discarded each year as bycatch. In some bottom trawl fisheries, discards make up more than half the haul. Still, "Ocean" is no eulogy. Its final act offers a stirring glimpse of what recovery can look like: kelp forests rebounding under protection, vast marine reserves teeming with life and the world's largest albatross colony thriving in Hawaii's Papahanaumokuakea Marine National Monument. These aren't fantasies; they're evidence of what the ocean can become again, if given the chance. Timed to World Oceans Day and the U.N. Ocean Conference in Nice, the film arrives amid a growing global push to protect 30% of the ocean by 2030 -- a goal endorsed by more than 190 countries. But today, just 2.7% of the ocean is effectively protected from harmful industrial activity. The film's message is clear: The laws of today are failing the seas. So-called "protected" areas often aren't. And banning destructive practices like bottom trawling is not just feasible -- it's imperative. As always, Attenborough is a voice of moral clarity. "This could be the moment of change," he says. "Ocean" gives us the reason to believe -- and the evidence to demand -- that it must be. "Ocean" premieres Saturday on National Geographic in the U.S. and streams globally on Disney+ and Hulu beginning Sunday.
Yomiuri Shimbun
2 days ago
- Yomiuri Shimbun
David Attenborough's ‘Ocean' Is a Brutal, Beautiful Wake-up Call from the Sea
National Geographic via AP This movie poster provided by National Geographic shows 'Ocean With David Attenborough.' NICE, France (AP) — An ominous chain unspools through the water. Then comes chaos. A churning cloud of mud erupts as a net plows the seafloor, wrenching rays, fish and a squid from their home in a violent swirl of destruction. This is industrial bottom trawling. It's not CGI. It's real. And it's legal. 'Ocean With David Attenborough' is a brutal reminder of how little we see and how much is at stake. The film is both a sweeping celebration of marine life and a stark exposé of the forces pushing the ocean toward collapse. The British naturalist and broadcaster, now 99, anchors the film with a deeply personal reflection: 'After living for nearly a hundred years on this planet, I now understand that the most important place on Earth is not on land, but at sea.' The film traces Attenborough's lifetime — an era of unprecedented ocean discovery — through the lush beauty of coral reefs, kelp forests and deep-sea wanderers, captured in breathtaking, revelatory ways. But this is not the Attenborough film we grew up with. As the environment unravels, so too has the tone of his storytelling. 'Ocean' is more urgent, more unflinching. Never-before-seen footage of mass coral bleaching, dwindling fish stocks and industrial-scale exploitation reveals just how vulnerable the sea has become. The film's power lies not only in what it shows, but in how rarely such destruction is witnessed. 'I think we've got to the point where we've changed so much of the natural world that it's almost remiss if you don't show it,' co-director Colin Butfield said. 'Nobody's ever professionally filmed bottom trawling before. And yet it's happening practically everywhere.' The practice is not only legal, he adds, but often subsidized. 'For too long, everything in the ocean has been invisible,' Butfield said. 'Most people picture fishing as small boats heading out from a local harbor. They're not picturing factories at sea scraping the seabed.' In one harrowing scene, mounds of unwanted catch are dumped back into the sea already dead. About 10 million tons (9 million metrics tonnes) of marine life are caught and discarded each year as bycatch. In some bottom trawl fisheries, discards make up more than half the haul. Still, 'Ocean' is no eulogy. Its final act offers a stirring glimpse of what recovery can look like: kelp forests rebounding under protection, vast marine reserves teeming with life and the world's largest albatross colony thriving in Hawaii's Papahānaumokuākea Marine National Monument. These aren't fantasies; they're evidence of what the ocean can become again, if given the chance. Timed to World Oceans Day and the U.N. Ocean Conference in Nice, the film arrives amid a growing global push to protect 30% of the ocean by 2030 — a goal endorsed by more than 190 countries. But today, just 2.7% of the ocean is effectively protected from harmful industrial activity. The film's message is clear: The laws of today are failing the seas. So-called 'protected' areas often aren't. And banning destructive practices like bottom trawling is not just feasible — it's imperative. As always, Attenborough is a voice of moral clarity. 'This could be the moment of change,' he says. 'Ocean' gives us the reason to believe — and the evidence to demand — that it must be. 'Ocean' premieres Saturday on National Geographic in the U.S. and streams globally on Disney+ and Hulu beginning Sunday.
