Introduction
One night in the spring of 2016, with the presidential campaign heading in its loopy direction, Janice Min, the editor of the Hollywood Reporter, where I was writing a regular column, called excitedly to say that I’d be able to interview Donald Trump if I could get from New York to Los Angeles, where he was doing a campaign stop, by midafternoon the next day. I confess to thinking that this was quite a lot of effort for a candidate who, while breathtaking in his novelty and ludicrousness, and confounding in his success to date, seemed to have no more of a chance of being president than I did.
But, for the sport of it, I went. That next evening, sitting with the candidate in his Beverly Hills home, filled with overstuffed furniture not unlikely cast off from one of his hotel lobbies, I looked Donald Trump in the eye and asked him the essential question: “Why, exactly, are you doing this?” He replied, with a clarity that few candidates have about their own motives and ambitions: “To be the most famous man in the world.”
I should have been more appalled. And yet it had an obvious logic. Most public people in my broad acquaintanceship with public people see notoriety and celebrity as key aspects of their identities. Whatever else they might have accomplished—work they had done, organizations they had built, money they had made—was enhanced by, or depended on, or was meaningless without their public profile and renown. Trump was merely throwing pretense away and eliminating the need to perform for any reason other than attention itself. He had arrived at a place that other equally as craven but not as shameless fellow attention seekers could only dream about.
The road here is a tragic one—for the culture at large and, as well, for so many of the people who take it. But it is also the central thoroughfare: you can’t understand public life without understanding the motivation for ever-increasing and eternal notoriety, and the mechanisms by which it is achieved, and, as well, the price you pay for it.
In 1998, New York magazine hired me to write its weekly media column. Writing about media had, theretofore, mostly involved the court politics at newspapers and network news divisions, journalism ethics and practices (“media criticism”), and sometimes a guilty fascination with the wealth and power of media CEOs—the moguls.
But, by the late nineties, several developments had pushed the media story into a new dimension: the trial of O. J. Simpson in 1995—wherein the media gave up the pretense of its role as witness to the news and became the eager producer and stage manager of it; Bill Clinton and Monica Lewinsky in 1998, demolishing the line between public and private lives; and mass connectivity, which gave everybody a rooting interest in, and passionate opinion about, public actors, large and small.
News was personality. Personality was drama and entertainment—that is, conflict. Notoriety, that is publicity, became the leading currency of our time. The needs, hubris, and ruthlessness of people at the apex of attention, celebrity, and influence—and those striving to reach it—became the grease that kept the world spinning and news cycles rolling. The news was psychopathology. The media did not merely report on but created the people who made the news; likewise, self-promoters with ever-increasing skills and cunning gamed the media.
And then the world began to revolt against these modern monsters and the agents and enterprises who made them.
This new social and political force of personal aggrandizement and media power, the characters it has propelled, and the backlash it has inspired, while in many obvious ways deleterious for the commonweal, was propitious for me. As a journalist my interest wasn’t so much subject-specific (e.g., politics, health care, prison reform, tech) as it was about how we live now. This vast, unquenchable thirst for attention among people I knew—or was able to get to know precisely because they wanted public attention and I could help confer it—has been, to say the least, a compelling window through which to see the world.
Icarus anyone?
In the shadow of this celebrity culture, there slowly grew a finer understanding of how this need and quest for attention changed not only the people seeking it and the institutions and technology providing it, but the body politic itself: we expect a show, heroes, villains, life and death. And here, too, we began to understand, there was a new social and business system fostering all this ego and conflict, full of the scoundrels, swindlers, and self-promoters you might find in a Trollope novel.
If you are lucky as a writer, you get to match your interests, sympathies, hankerings, and fears with the culture of your time. I have had more than just a passing or arm’s-length relationship with many of the figures in this book. We were interested in the same thing—or, more to the point, I was interested in them, hence they were interested in me. Everybody knew that most likely, if not explicitly, I would write about them, and yet persisted in talking to me. (Still, many would come to carry a grudge about the fact that I ultimately did write about the things they said to me.)
In my experience, the worst thing you can say about a social climber—and almost everyone in this book is a determined social climber—is that they are a social climber. It has always confused me why the obvious—the emperor’s nakedness—is not obvious to all, and why we all cannot acknowledge the underlying comedy.
But pretense is the requirement of fame. And, perhaps not surprisingly, the more famous you become, the thinner your skin gets.
Almost everybody herein has been burned, often badly, by the fame they have sought—opprobrium, humiliation, prosecution, jail, even death. But few, other than the dead, have not continued to pursue it. Hillary Clinton has been shamed and maligned at a level impossible for mere mortals to appreciate and yet has consistently returned for more. Why? Because the famous and would-be famous see themselves as warriors—and implicit in the fight is the possibility of humiliation and defeat? Or because they are self-destructive? Or merely because fame is just the world they live in—what else is there?
Several years ago, at one of the regular luncheons hosted by the British satirical magazine Private Eye, long dedicated to the pursuit of the overweening and famous (yet pleased to host lunch for them, too), I sat next to Jemima Khan, the socialite daughter of billionaire James Goldsmith, former wife of world-famous cricketer and present prime minister of Pakistan Imran Khan, and ex-girlfriend of Hugh Grant. She was convivially indiscreet about her relationship with Grant—“just a boy from Chiswick”—and dropped a detail that I have cherished since. To the list of hurdles and impediments and limitations of life, Grant, according to Khan, added a new one: “too famous.” He had achieved not just fame, but way too much of it, such that it had the opposite effect and he had to be constantly vigilant about its blowback threats. Everything he did had to account for and be weighed against inevitable resentments, preconceptions, potential scandal, and social media schadenfreude, as well as constant selfies.
An irony is that fame is no longer a very exclusive position. At one time, real fame, like real wealth, was so rarefied that it existed as an exception to the rule, a novelty. But like the growth of the financial industry that made so many more people richer, the growth of the media industry has made so many more people famous.
Notoriety, rather than being exceptional, became an upper-middle-class aspiration, like the Ivy League. In upper-middle-class meritocratic culture, you need to keep competing. Greater and greater levels of public recognition—media recognition—became, along with more money and more real estate, part of that scorecard. Arguably, this gave an edge to those already tipping toward personality disorders. No surprise that fame began to get a bad name given the spreading dislikeability of the famous.
Then, social media expanded this algebraically. Anybody could compete for public attention, not just the upper middle class. Indeed, so many people are now famous, you might not even know they are famous.
Still, given the general demographics of fame, and the disproportionate focus of this book, the question arises as to the extent that fame might be largely a white man’s privilege—or folly. And whether the very nature of fame is derived from the entitlement and dominance of the already privileged, and from its self-perpetuating mechanism, the system ever elevating people in its own image, ruthless, bloodthirsty, and charming. There is currently a zero-sum sense as the nobody outsiders, with revolutionary zeal, try to defenestrate the famous insiders. The nobodies surely want their taste of the fame pie. Good luck. Maybe the democratization of fame will change its nature. But one message that might be taken from the various notable women who are part of this rogues’ gallery is that as much as they have broken through fame’s ceiling they have, too, as clearly, been consumed by fame’s fires.
There is surely nobody more obsessed with notoriety than media people themselves. It’s the product they sell; it’s the power they hold. And, in a trifecta, it’s the status they can achieve. It is hardly an overstatement to say that the media is only interested in people who are famous or people it believes it can make famous. Nor is it going too far to generalize that the more successful you are in the media business, the more time you spend with famous people.
The inevitable backlash has certainly not derailed the quest for fame, but it has tended to draw a tighter and more accusatory circle around people who were already famous. Hence, Twitter mobs, aspects of #MeToo, cancel culture, and the righteous pursuit of prosecutors everywhere. Fame is dangerous—sometimes lethal.
And then there is Donald Trump, with the media in open and savage rebellion against its own Dr. Frankenstein creation. It is far from clear whether this taking up of arms will create a reset and new moral attention, or if Trump merely confirms the exceptional power of being able to command attention and of the shamelessness that is the necessary element of it.
This book collects pieces I’ve written as a columnist for New York, Vanity Fair, British GQ, and the Hollywood Reporter, and adds several new ones. The pieces were written over a twenty-year period, roughly spanning that moment when personal attention became one of the world’s most valuable commodities and ending with Donald Trump, fame’s most hyperbolic exponent.
Some of these pieces exist in the amber of a particular news moment, some as character portraits—as colorful now, I might hope, as when they were written—and some as possibly lasting observations about human nature and folly. The common ground here is that everyone in this book is a creature of, or creation of, the media. They don’t exist as who we see them as, and who they want to be, without the media. They are actors, sometimes succeeding but often failing in their performances in the media’s eyes.
The glossy magazines in which most of these pieces first appeared flourished by reflecting the celebrity culture—often glorifying celebrities, but at the same time keeping close watch on their weaknesses and vainglories (indeed, ever ready to chop the mightiest down). With a little critical interpretation, fame was a self-policing industry. But in a confusing development, these magazines are now shadows of their former selves. My old boss at Vanity Fair, Graydon Carter, quite the ultimate curator of celebrity culture, was replaced by an editor with a new sense of earnestness and correct purpose, who, even in the face of steadily declining readership, has seemed determined to deny the celebrity world from which Vanity Fair came.
This hardly means an end to celebrity culture so much as it does less expertise in understanding the true nature of the egomaniacs, narcissists, soulless attention seekers, and media moguls and middlemen of our time. Arguably, we allow broken personalities much more latitude now. If their politics conform to whatever the currently acceptable standard is, we count them as legitimate players. We don’t have the lens or the language to see them as wanting something more than they should reasonably want and becoming something much different from you and me in their quest to get it and hold on to it.
Nobody is on this beat anymore, paying close attention to the corrosive and humbling vanities. Hence, we take the too-famous more seriously than we ought to, either embracing them or hating them.
I was once asked how I hoped people would see themselves after I had written about them. I said I hoped they would see themselves as uniquely flawed human beings.
I am fairly sure that has never happened.
President Jared
NOVEMBER 2020
There are some things even in the age of Trump that might still seem inconceivable—like President Jared. That’s a sitcom setup. And yet who would not want to bet that the thirty-nine-year-old—already the beneficiary of a political opportunity as extreme and unwarranted as any in modern times—isn’t planning his future? That the currents of the remade Republican Party, and the new oligarch-tilted world, won’t lead, once again, somewhere unimaginable?
Since encountering the president’s son-in-law on the campaign trail in 2016, I’ve watched him with fascination, maybe even sympathy—the young man in way over his head but determined to prove, often with some petulance, that he could stay in the game. But the Trump administration’s game was clearly Jumanji and Jared Kushner seemed among the least ready to survive it.
We first met not long after he had been drafted into the Trump entourage as a point-person family member—a kind of Trump-brand monitor overseeing his wild-card father-in-law on behalf of the ultimate Trump-brand beneficiaries. The contrast between the candidate and his son-in-law was quite a sight gag. The hulking older man occupying all the space with his size and bluster and the quivering-filament younger man as though hoping to disappear. Kushner moved silently and ghostlike around the perimeter of his father-in-law, like sons-in-law everywhere perhaps avoiding the patriarchal force field. But attentive, too—an anxious butler. To my question to his father-in-law one evening, with Trump planted heavily on the couch in the living room of his Beverly Hills home, about why exactly he wanted to be president, Trump replied, as though it ought to be obvious, “To be the most famous man in the world.” Pivoting to his son-in-law, hovering nearby, he snapped his fingers: “Jared, am I the most famous man in the world yet?”
“Yes, you are,” said a prudent Kushner. “Virtually one hundred percent name recognition.”
My sense then was that Kushner found himself between great suffering and great adventure—unsure which was greater.
A West Wing source described Kushner during the peak days of the Black Lives Matter protests after his father-in-law had angrily emerged from the White House bunker. Kushner had been trying to reassure the president that the protests were best handled locally and that the president should remain above it all. Kushner and his wife knew that in any situation involving perceived challenges to the president’s authority, not to mention race, no response was better than any he might give. But the president was calling for troops and demanding he be able to do something, with almost everyone in the White House suddenly, madly, scurrying around to find something for him to do. Jared, Ivanka, and Hope Hicks, the presidential aide and their close ally, tried to propose do-something alternatives that did not involve troops, decrees, and news conferences. Ivanka had long been trying to get her father to go to church, specifically to St. John’s, the simple and tasteful, particularly un-Trump-like, lemon-yellow, nineteenth-century Episcopal church, the “Church of the Presidents,” a block from the White House. Although the president had no interest in this or any church, here was suddenly a do-something something to do. Except that the president wanted to be seen walking with his generals. Church okay, but with a show of force. With the president in high and choleric dudgeon, Ivanka and Hope Hicks soothed, dithered, fretted, implored. Jared, on the other hand, stood aside for the train wreck, accepting the inevitable, receding, closing down, as though paralyzed. “He can’t breathe either,” noted a White House wag, echoing the gasps of Black police victims. Here was Jared’s frequent response to Trump events when they ran chaotically away from him, to see, hear, or speak no evil, in fact to nearly dematerialize.
Through one lens this might be a picture of a painful disconnect, even revulsion, some Trumpers have noted, for his father-in-law. His detachment or absence has been confusing even to people close to him, who describe it as sometimes coming close to a trance. Similarly, on the rare occasions that he would step out in public, blinking in the light, to defend a White House position or face a difficult development, he appeared more spacey and lost than the time before. His small circle, sensitive about the charge that he lacks backbone, or even free will, would struggle to explain his lack of presence—“he keeps his own counsel” is a favorite gloss. But through another lens this evidently benighted and passive figure, and often, it seems, quite a wounded one at that, became the picture—at least in Trumpworld—of an incredibly gifted bureaucratic infighter, one with extraordinary ambitions and an unlimited future.
For all his negative space, he was a survivor in a land where there were precious few. Here was the Zelig of executive branch management initiatives, again and again making himself the face of new commissions to limit or expand the administrative state and extend his own reach in it. He was the Trump administration’s own deep state, with foreign leaders at their most effective when they were whispering to him. He was hated by Trump true loyalists who always believed they had finally relegated him and convinced the president to send him home. But there was hardly a meeting of consequence in the Trump White House that he wasn’t in. The reelection campaign was his bailiwick, an almost personal project—and yet remote enough to avoid responsibility for it. Brad Parscale, the former Trump Organization freelance website designer who rose to campaign database minder and to campaign manager, was his personal apparatchik (until Jared dispatched him). Kushner has certainly been the least popular, most mocked and scorned person in the Trump White House, but, by wide consensus—however much through gritted teeth by however many—its second most powerful person.
In the earliest days of the administration, he and his wife, imagining a Trump Camelot, decided, in a sort of White House prenup, that she would be the future politician, the Trump of it all, and he the behind-the-scenes operator—a sort of Deng Xiaoping, without title, but with his hands on the levers of power. But Ivanka came to take the Trump administration’s ever-careening fortunes very personally. Resentful, bitter, gun-shy, she argued that perhaps they ought to go home. Her husband, on the other hand, mostly hidden from the public—“maybe a little emotionally remote,” described one supporter—was able to shoulder the slurs and outwait his enemies. With his willingness to accept the things he cannot change about his father-in-law, and the patience to change what he can, he came to feel his was quite a preternatural gift for executive power.
It has baffled him that more people have not recognized all that he has endured and risen above.
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