A Review of “This is How They Tell Me the World Ends”

Screenshot of the cover of "This is How They Tell Me the World Ends". by Ncole Perlroth.

This book was an accidental find. I stumbled onto an ad in the pages of a recent issue of the Atlantic and, let’s face, it the title grabs you. The rest of the title, “The Cyberweapons Arms Race,” sealed my desire to read this. The author, Nicole Perlroth, is a cyber-security reporter for the New York Times who covered the Edward Snowden leaks when they broke. I’m interested in how history tends to get lost very quickly, and so I’m always drawn to books that walk through history that I’ve lived. I remember most of the events that Perlroth discusses: Stuxnet, the Snowden debacle, to say nothing of more recent events in our tumultuous political time. I thought that I knew the details of these events. I was honestly shocked at how little I knew. The title of the book is designed to give one a sense of dread, I think, and I would say that it succeeds. You really can’t walk away from this book without a sobering sense of reality settling on you at best, and a sense of digital paranoia at worst.

Perlroth walks us through a detailed underground history of events that led us to the place that we inhabit today. She defines how hackers began exploiting software, traces a tangled web through the way that hacking was weaponized by the governments of the world, and how cyber warfare became commonplace. What I had never realized prior to reading this was that there is an underground market for selling exploits, a market that is extremely lucrative for hackers who want to monetize their time, hackers that are often, by Perlroth’s description, quite mercenary in their approach to doing business. She walks us through how the exploits sold by such hackers were used in some of the world-changing cyber-attacks of our time, such as Stuxnet.

What I appreciate, especially given that I work in web technology for a living, is that Perlroth never paints all hackers with a broad brush. While she never uses the standard terms to deleniate between “white hat” and “black hat” hackers, I think that she avoids this on purpose, because she wants to make it clear that the temptation to label these hackers as either good or bad is misplaced. Their lives, and their vocation, is just not that simple.

This book is remarkably well-researched. The reader experiences key events in the development of the cyber arms race: The Google hack, the election interference of 2016, the politics behind the development of Stuxnet…in deep detail that leaves you with new appreciation for the history behind our current situation. The end goal of this is to leave the reader with an unsettled understanding: we have, through a series of cultural events and technological innovations, set ourselves up for a painful failure, a failure that has the potential to be quite devastating.

Some of my favorite recollections from the author are her own close calls with obvious hacking attempts into her own life. If you’re not digitally paranoid now, you will be after reading these stories.

My biggest issue with the writing of the book is that, in order to achieve a certain tone, the author casually uses unprofessional language that I think detracts from the feel of journalistic integrity that the book should have. The quality of the research and storytelling still stand out, but I think that there would be a more authoritative perception had the author made different choices here. I also was not impressed with the quality of the Audible production: it was poorly edited and the narrator didn’t capture the cadence of the writing. This does not detract from the quality of the book itself, though.

Please do yourself a favor and read this book. Even if you do not have an interest in the topic, this is a subject that effects all of us in ways that we don’t even realize and, if the author’s predictions are correct, will come to impact us more heavily in the future. This is a heavy read, but you will be glad that you’ve experienced this history.

Thoughts on WandaVision

I know, I’m slightly late to the conversation on WandaVision. This isn’t because I watched it late, but because it took a while to unpack this series. Like most viewers, I found it a bit mystifying from the trailers, but I was intrigued from the first episode. This, I thought, is by far the quirkiest thing that Marvel has put on any screen, large or small, and yet held a sense of foreboding that something was just around the corner, something ominous. What I found as the series progressed, and as I’ve had time to ruminate on it a bit, is that there is a deeper theological undercurrent to this series than I’ve seen in any of the MCU to date.

Let me cut to the ending though: I loved WandaVision.

Comic book literature is sort of naturally given to feature length films, because it tends to contain huge battles between good and evil that are epic in scale. Arcs like Captain America’s backstory, or the Avengers, are well-suited to a series of large-screen films. We’ve followed them, loved them, found ourselves invested in them. If you’ve read comics at all, though, you’ll know that there’s more to the characters. Comics give space for the backstory of the characters, as well. They at times devote entire issues to conversations between incidental or secondary characters, developing not only those characters but others in the process. There’s room for dialogue, for the heavy introspection of someone’s thoughts. Were the screenplay writers to include this in every film, they would all easily exceed two hours. What we’ve seen with Marvel’s series at large, though (think of the Defenders series on Netflix) is that their episodic nature provides the writers with the room to unpack backstories, develop characters, help us to know these heroes (and villains) better. Think of the entire episode of Daredevil devoted to Matt Murdock revealing his secret identity to Foggy Nelson. That was incredible dialogue, and the viewer was so much more invested in both Murdock and Nelson after.

That sort of space is something that both Vision and the Scarlet Witch have been in need of since they debuted in Age of Ultron. Wanda Maximof’s story of one of trauma. Repeated trauma. She watches her parents die. She chooses to become an Avenger, and then her brother dies. She still tries to do what is good, and manages to find a strange an unusual love in the Vision, not only to watch him die as well at the hands of Thanos, but actually is forced to be the one to kill him. I don’t think it’s an exaggeration to say that Wanda is one of the strongest characters in the Marvel universe at this point, not just in sheer power level (we’ll get there), but in the will to even get up each morning and keep going after that amount of trauma. I’m not sure I would make the same decision.

Wanda, however does. The complication is that she is endowed with a level of power that she can’t even comprehend prior to this series, and, when her mind finally breaks under the pain of grief of loss, that power alters reality. The writers riffed on the House of M story arc from the source material, and walked the thin line of introducing the complexities of this scenario without ever allowing Wanda to become a villain. Because, at the end of the day, it just isn’t that simple.

What fascinates me about WandaVision is the theological implications of the story. This is ultimately a story of what happens when any one of us tries to play God. Wanda just wants an end to pain. She has no ill intent. So, she does exactly what any of us would do if we found ourselves in possession of an enormous amount of magical ability to alter reality to fit our will. Wanda departs the realm of hero, but never becomes a villain. She just wants a respite from her grief but, because she’s only human after all, creates a disastrous scenario when she takes matters into her own hands, even though (and this is important) she does so instinctively rather than intentionally.

I don’t want to throw out a post full of spoilers…you really need to watch this series if you haven’t. To continue the theological discussion, though, the best part of the story is that, in the end, when confronted with the decision to maintain the relief from sadness that she so desperately wants and deserves, or to let Vision, her one love, die yet again in order to free the innocent people around her from the prison that she’s inadvertently created, Wanda displays the nature of a hero and places the good of the many before her own. The pain that she’s feeling we cannot fathom, but she repents of her wrong doing and makes an effort to save the lives of others.

There are far more themes introduced in this series than I can explore here. We see an image of temptation by the evil one in the Garden in Agatha Harkness. We’re given a bit of time to ask the question, can a machine love, if we can create as we were created, and what the ramifications of such actions might be. There is so much going on in WandaVision.

WandaVision is the most original idea that Marvel has tried to date. Each episode is superbly written, perfectly performed, and full of layers of significance that one just doesn’t find in any series created in the U.S of late. If you’re a comics fan, and especially if you’ve followed the MCU at all, this is a must-watch. I wouldn’t recommend that this be a jumping-on point to the MCU if you haven’t, though. The good news there is that you have a lot of great material on which to catch up.