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Zuckerberg saying AI will cure loneliness is like big tobacco suggesting cigarettes can treat cancer

Zuckerberg saying AI will cure loneliness is like big tobacco suggesting cigarettes can treat cancer

Irish Times10-05-2025
In an interview with Rolling Stone magazine in 1996, on the publication of his novel Infinite Jest,
the late writer David Foster Wallace voiced some ideas about technology that seem increasingly prescient with every year that passes.
He began by talking about television, which was one of the major subjects of his work, representing as it did a nexus of many of its central themes: technology, addiction, pleasure, loneliness and the all-consuming presence of corporations in contemporary American life.
Wallace, who struggled with substance abuse throughout his life, often spoke of television as his original addiction.
(Infinite Jest, which itself seems to be increasing in relevance, partly centres around a piece of film, known as 'the Entertainment', that is so endlessly compelling that its viewers forego all human contact and bodily sustenance in order to never stop watching it. They eventually die of starvation and neglect.)
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Television was powerfully seductive, he said, because it answered some basic human social needs – for company, for entertainment, for stimulation, for talk – without requiring anything of the viewer in return.
There was none of the risk, none of the potential for unpleasantness or awkwardness or pain, inherent in human relationships. This was why it was so seductive, and also why it led, after long periods of watching, to feelings of profound emptiness.
And then, unprompted, he began to talk about the internet, a technology which in 1996 was still in a prelapsarian state of dial-up innocence – no social media, no
YouTube
, no
Google
even – but with whose darker potentials Wallace had long been preoccupied.
'The technology,' he said, 'is just gonna get better and better. And it's gonna get easier and easier, and more and more convenient, and more and more pleasurable, to be alone with images on a screen, given to us by people who do not love us but want our money. Which is all right. In low doses, right? But if that's the basic main staple of your diet, you're gonna die. In a meaningful way, you're going to die.'
Alone with images on a screen, given to us by people who do not love us but who want our money. It would be hard to identify a darker premonition of our own time or a more unsettlingly accurate one.
The average American has fewer than three friends, and the average person has demand for meaningfully more, like 15 friends

Mark Zuckerberg
I thought of Wallace last week, and of this remark in particular, when I heard
Mark Zuckerberg
, whose company
Meta
is investing tens of billions of US dollars in developing
artificial intelligence
(AI) technology, speaking on a podcast about his vision for the near future.
Having touched on the way people will use AI for internet search, and for information processing tasks, he addresses what seems likely to be the primary use for the technology in Meta's case, given the company's foundation in monetising human interactions and its recent movement toward more passive content-consumption.
'I think as the personalisation loop kicks in, and the AI gets to know you better and better, I think that will be really compelling,' he said. 'There's this stat that I always think is crazy, which is that the average American has fewer than three friends, and the average person has demand for meaningfully more, like 15 friends.'
The reality, he said, is that people don't feel the kind of connection to the world that they would like, and they are more alone than they would like. The implication here – and the implication of all that investment in AI – is that this technology, with its personalisation loops and its improving ability to pass for a human intelligence, will answer that need.
It barely needs to be pointed out here that Zuckerberg – who does not love you, and who wants your money – is as responsible as anyone on earth for the increased atomisation of technologically advanced western societies, for the swelling tide of loneliness and isolation he himself invokes.
(I'm guessing that America is, if not exactly a special case, an outlier in terms of the friendship statistics he's talking about. We Irish – and Europeans more generally – are by no means immune to these trends, but I think it's fair to say we have a healthier social environment than work-obsessed Americans.)
That Zuckerberg is now addressing himself to that problem and that the solution he is proposing is, in effect, chatbots – well, it's like a tobacco company addressing the problem of smoking-related illness and death by suggesting that people smoke more.
Idea that a cure for these ills might be found in technology designed to replace the need for other humans is troubling, absurd
Like almost everyone I know, I use Zuckerberg's products. I haven't used
Facebook
in years – has anyone? – but I do use
Instagram
. One aspect that's become unignorable about the experience of using Instagram in recent years is that though you probably joined it to see photos of your friends, and to interact with them, that's not really what it's for any more.
Instagram, largely in response to the transformative success of
TikTok
, has become a place where you consume content, most importantly advertising. You can still interact with your friends there, of course, but you are almost certainly doing it less and less, as their posts – to the extent that your friends are even still posting – are overwhelmed by influencer content, personally targeted advertisements and random AI slop.
It has become a place, in other words, where you are alone with images on a screen. It has become a more addictive, and generally more toxic, form of television. It has become 'the Entertainment'.
It is inarguably true that the internet and social media have – along with all the other baleful and related effects like the erosion of social trust, the cultivation of conspiracy theories, the growth of political extremism – made people more lonely and isolated.
The idea that a cure for these ills might be found in an even more sophisticated technology, one designed to replace the need for other humans, is as troubling as it is absurd.
Machine lovers, machine therapists, machine friends. The cure is the disease itself. It's a solution that can only lead to a deeper emptiness, and to a lonelier and less human world.
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Jaws: As Steven Spielberg's film turns 50, we're still living in the shadow of the shark

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Sabrina's new song Manchild, rumoured to be about her Irish-actor ex, Barry Keoghan, debuted at No.1 on both sides of the Atlantic last month and is taken from her much anticipated new album, Tonight, she performs a second sold-out show to 65,000 fans at British Summertime (BST) Hyde Park, so it's no surprise that rock bible Rolling Stone magazine has dubbed 2025 the 'Summer of Sabrina'. Sabrina Carpenter confirms new summer drink 'hard launching' her deal with Dunkin' – but it's not espresso Of course, she's not without controversy. Many people became aware of her thanks to another BST headliner, Olivia Rodrigo. Olivia's first single, Driver's License, was about an anonymous blonde girl who stole her boyfriend, fellow Disney Channel actor Joshua Bassett. Rumours were rife that the girl in question was Sabrina, and she hit back with her own track, Because I Liked A Boy, singing: 'Now I'm a homewrecker, I'm a s**t, I got death threats filling up semi-trucks.' It was the title track of her 2022 album, Emails I Can't Send, that showcased Sabrina's songwriting talent. She has hinted that the track is about her dad David's infidelity and how it impacted her, with lyrics including: 'Thanks to you, I can't love right/I get nice guys and villainise them/Read their texts like they're havin' sex right now/Scared I'll find out that it's true/And if I do, then I blame you.' She later revealed she played it to her mother before her father heard it. 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I'm talking about every female artist that is making art right now.' In many ways, it feels like Sabrina is the successor to Madonna, whose provocative songs and performances were intended to shock. Huge stars have leapt to her defence, with 81-year-old singer-songwriter Carly Simon saying: 'She's not doing anything outrageous. It seems tame. "There have been far flashier covers than hers. One of the most startling covers I've ever seen was [The Rolling Stones'] Sticky Fingers. That was out there in terms of sexual attitude. So I don't know why [Sabrina is] getting such flak.' It's no surprise Sabrina wants to shed her 'good girl' image, following in the footsteps of others who started their careers on the Disney Channel. 'She's killed off her innocent image, just as Britney Spears, 'The young people who grew up watching her have also grown up, and kids today are growing up faster – some would say too fast. So she is giving her audience what they want, or at least what she thinks they want.' Her lyrics are heavy with sexual undertones, and her performance at the BRITs in March drew complaints when it was broadcast before 9pm, leading her to post on Instagram: 'I now know what watershed is!!!!' 18 Sabrina has dated actor Barry Keoghan 18 The singer performs at BBC Radio 1's Big Weekend in 2024 18 Taylor Swift and Sabrina take to the stage Meanwhile, on her last tour she recreated a different sexual position each night during her song Juno [named after the movie about teen pregnancy], asking: 'Have you ever tried this one?' before writhing on stage in a barely there outfit. Her antics horrified parents of younger children, but were adored by many of her older fans. Unsurprisingly, the clips of the positions went viral each night. Speaking about the controversy in Rolling Stone, Sabrina said: 'It's always so funny to me when people complain. They're like: 'All she does is sing about this.' "But those are the songs that you've made popular. Clearly, you love sex. You're obsessed with it. It's in my show. "There's so many more comments than the Juno positions, but those are the ones you post every night and comment on. "I can't control that. If you come to the show, you'll also hear the ballads, you'll hear the more introspective numbers.' From an early age, Sabrina knew she wanted to be a star, even though she came from a regular family, hailing from a distinctly unstarry place called Quakertown in She's the youngest of four girls, and her mother Elizabeth works as a chiropractor, while her father David works for an X-ray servicing company. 18 Sabrina and Paul Simon perform 'Homeward Bound', February 2025 18 The pop star on stage at The Brits 18 Sabrina with her family She started singing on her own YouTube channel at the age of nine. Her dad made a little studio under the stairs and learned how to create and edit videos for her. She insisted on being homeschooled, so that she could spend her time auditioning and signed to Disney's Hollywood Records when she was 12. A year later, her big break came when she landed a role in Disney show Girl Meets World. Her mum moved to Los Angeles with Sabrina, while her dad stayed at home with her sisters. She worked throughout her teens, bringing out four albums and starring in a variety of teen films, but never quite made it to the next level. But then in 2022, after the pandemic and with a new record label, she released Emails I Can't Send, her breakthrough genre-bending album. For her first adult project she worked with her sister Sarah, who provides her creative influence, along with fellow writer Amy Allen, and it was co-produced with Taylor Swift's pal Jack Antonoff. The abum is filled with songs about love, heartbreak and ambition, and she says that she was an 'emotional wreck' when she wrote it. But several of the songs brought a degree of notoriety. It seemed like each song had a story to go with it. The video for Please Please Please co-starred her then-boyfriend and Oscar-nominated star of Saltburn, Barry Keoghan – the pair split in December last year, citing their busy schedules as the reason. The track, which became one of her biggest hits, references an actor boyfriend and tells the story of someone who knows they are in the wrong relationship. 'This just really hits for the girls that have every right to go back to someone who isn't good for them and know that those mistakes are absolutely human to make – and repeatedly,' she told Time magazine last year. 'The amount of times that we've all been with people we shouldn't be. . .' 'I see her as a featherweight genius,' says Mark Borkowski, who admits he questions her longevity. 'Like a lot of pop stars now, she has a really profound digital social literacy. She's brilliant at creating the type of content that gets shared and becomes clickbait. "She's found a way of getting the fame machine to work for her – with all the algorithms and the viral clips. She's the perfect pop star for the algorithm age,' he adds. Before her show tonight, she will no doubt have taken an icy plunge bath, after becoming obsessed with cold water therapy. 'I really got introduced to this s**t by boys that I've dated that I made fun of for doing it,' she has said. 'I would always make fun of it, being like: 'Oh, the cold shower isn't going to fix your mental health. You need to actually maybe see a therapist.' "But then I tried it, and I was like: 'You know what? There's a little something to it.' Mentally, it's not getting my life together, but it's definitely helping my body heal, and it's helping me have a little bit more clarity and energy. "Unfortunately, it's a cult, but I'm here for it.' Despite the doubters, it feels like no one is going to pour cold water on Sabrina's career any time soon. 'Sabrina Carpenter is such a unique songwriting talent that I don't think the world has even caught up with it yet,' says songwriter Alexis Strum, who has penned songs for artists including Kylie Minogue. 'I think she is severely underestimated, and is actually really witty and makes brave choices with her top lines. 'It's no coincidence that she's worked with Dolly Parton and, in years to come, she may have her own 'Sabrinawood', because she has such a knack for generalising her life experience into song. It's a gift that both Adele has and 'It has taken some time to get to the top, but Sabrina never doubted it would happen.' Sabrina told Rolling Stone: 'I've always had a really weird relationship with the universe and I always felt like it was going to work out. "I try not to get sad about the fact that nothing lasts forever but, genuinely, it's such a beautiful time now. 'I want to soak it up and keep making things while I'm feeling this way.' SABRINA'S CV 2011 Law & Order: Special Victims Unit 18 Sabrina on Law & Order In her first-ever acting role, an 11-year-old Sabrina plays a trafficking victim who's interviewed by Detective Stabler (Christopher Meloni). A star was born. 2013 Orange Is The New Black 18 Sabrina guest stars in hit Netflix series Orange Is The New Black Sabrina guest stars in the hit Netflix prison comedy, starring as bully Jessica Wedge who tells a young Alex Vause (Laura Prepon): 'You dress like a bum.' Meow! 2014-2017 Girl Meets World 18 The youngster on Girl Meets World At 15, she nabs the coveted role of Maya Hart in Disney's spin-off of the popular 1993 series Boy Meets World. 'That was my world and that was my everything,' she said in 2020. 2016 Adventures In Babysitting 18 Sabrina takes on the part of Jenny in this remake of Adventures In Babysitting Sabrina takes on the part of Jenny in this remake of the '80s classic, in which two rival babysitters have the night from hell when one of their charges goes missing. 2020 Mean Girls on Broadway 18 Making her Broadway debut in Mean Girls, Ms Carpenter shows off her voice playing Lindsay Lohan's character Cady Making her Broadway debut, Ms Carpenter shows off her voice playing 2020 Clouds 18 Sabrina recently starred in Disney sobfest 2020 Clouds Based on a true story, this Disney sobfest (directed by Justin Baldoni of It Ends With Us) tells the story of a terminally ill teen and his best friend and love interest, played by Sabrina.

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