After refusing to attack an enemy position, a general accuses the soldiers of cowardice and their commanding officer must defend them.
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Review: Brighton Part Two – Emotional Highs, Historical Lows, and Character Depth in Regency Drama
After the release of part two for Brighton, I found myself in a strange limbo, waiting a few days before I could finally watch it since my mum was still away on holiday. That anticipation was a genuine test of patience and set the tone for my viewing experience. During this time, the ongoing high tea scenes became increasingly irritating—they felt like they dragged on forever, with little movement in the plot. For instance, the repetitive pouring of tea and polite small talk seemed to stall the storyline, making it hard to stay engaged. However, the cheese tastings among the gentlemen offered a refreshing contrast. Watching these moments unfold felt authentic; it was fascinating to see a tradition that was commonplace in the Regency era depicted faithfully on screen. This attention to period detail helped ground the show and made the setting feel more immersive, reminding me why I enjoy period dramas in the first place.
By Sarah Xenos5 days ago in Critique
Overproduction of Words
Peter Ayolov Sofia University "St. Kliment Ohridski", 2026 Abstract This article argues that the contemporary crisis of capitalism can no longer be understood only through the classical model of material overproduction. Drawing on the Marxist theory of crisis, especially the framework associated with P. K. Figurnov, it proposes that digital capitalism has displaced the contradiction of overproduction from the factory to language itself. In the age of artificial intelligence and large language models, words, narratives, arguments, and symbolic forms are produced at near-zero marginal cost and on an effectively unlimited scale. What follows is not an expansion of meaning, but its devaluation. As commodities once lost exchange-value when they could not be sold, language now loses meaning-value when it can no longer be absorbed, interpreted, or distinguished within an oversaturated symbolic market. The article develops this claim across four movements: the transformation of classical overproduction into linguistic overproduction; the collapse of intellectual value under AI automation; the need to oppose planned obsolescence with civilisational durability; and the ideological failure of accelerationist fantasies that confuse energy, speed, and scale with historical direction. It concludes that the deepest crisis of late capitalism is not simply economic, but superstructural: a breakdown of meaning, legitimacy, continuity, and symbolic order. Within this condition, Ayolov’s work is presented as one of the few contemporary attempts to map the totality of a decaying superstructure and the obscure emergence of a new one.
By Peter Ayolova day ago in Critique
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