Tag: meaning

The Product

There’s a factory somewhere that manufactures meaning. Nobody knows where it is, but we all buy what it makes. You can’t survive without it. Every morning, I wake up to the same alarm sound — like a shriek filtered through cheap optimism — and I clock in at my terminal, typing things for other people who think they’re changing the world by moving numbers around. The boss says we’re “innovators.” I say we’re dream janitors, sweeping up what’s left of hope.

At night, I scroll through faces that look like me: sleep-deprived, smiling, sedated by purpose. They post about “grind culture” and “mindfulness,” like saints of a new religion where salvation costs $9.99 a month.

I used to believe I was different. I wrote poetry. I loved someone once. Then I started to feel the product wearing off. It began small. A crack in the script. I’d catch myself staring at my reflection in a window not recognizing the thing looking back. Like someone had replaced me with a cheaper copy, printed on recycled despair. My laugh started to sound overdubbed. The air smelled faintly of disinfectant and resignation.

I told my therapist. She smiled, a perfect mechanical crescent, and asked if I’d tried “meaning supplements.” She handed me a sample pack. They were glossy pills the color of television static. “Swallow one before sleep,” she instructed.

That night, I dreamed of the factory. Rows of bodies in chairs, their eyes wired open, pupils projected onto screens. Every time one blinked, a machine printed out a new slogan: Live. Laugh. Persist. The air was thick with burnt plastic and serotonin. I tried to run, but my legs dissolved into assembly lines.

When I woke up, my mouth tasted like melted silicon. The mirror showed me someone else entirely. It was the same face, but smoother. Cleaner. My pores had been edited out. My thoughts too.

I went back to work and everyone looked perfect. No one blinked anymore. The boss said we’d hit a new quarterly record. He clapped, but the sound was hollow, like hands slapping a coffin lid.

Now, sometimes, when I close my eyes, I can hear the factory humming under everything: under the city, under my heartbeat, under the polite noise of civilization.

We’re not employees. We’re inventory.

Every morning when I swallow the next pill, I understand a little more: the product is us.

Barking Mad: The Philosophy of Wilfred

The FX show “Wilfred” is one of my all-time favorite shows. I never saw the original Australian version, but the American one struck a chord with me. I’ve watched and re-watched it several times. It’s philosophical. It’s stoner comedy. It’s dark. It’s all the things I love.

On the surface “Wilfred” is a stoner comedy where Ryan (played by Elijah Wood), is a clinically depressed ex-lawyer who tried to kill himself, but instead found himself talking to his neighbor’s dog, who appears to him as a full-grown man in a dog costume. Hijinks ensue. But beneath the bong smoke and profanity lies something far more profound: a surreal meditation of identity, sanity, and the human condition.

At its core, “Wilfred” is about the search for meaning in a meaningless world. Ryan’s life is sterile, scripted, and empty. He’s alienated from his family, his former profession, and himself. Enter Wilfred: a creature who embodies chaos, instinct, and the id run wild. He shits in Ryan’s neighbor’s boots, humps teddy bears, and goads Ryan into ever-more reckless behavior. But Wilfred is also, somehow, Ryan’s guide — his Virgil through a very shaggy Inferno.

The question that hovers over every episode: Is Wilfred real? Is Ryan insane? Does it matter?

This is classic absurdism. Think Camus’ The Myth of Sisyphus: the recognition that life has no inherent meaning doesn’t lead to despair — it leads to freedom. Wilfred doesn’t hand Ryan answers. He hands him paradoxes, jokes, and humiliations. But in doing so, he forces Ryan to confront the absurdity of his own life and to choose whether or not to keep pushing the boulder.

Philosophically, Wilfred could be read as Ryan’s shadow self — Carl Jung’s idea of the hidden, repressed parts of the psyche. Wilfred says the things Ryan won’t say. He acts on the desires Ryan suppresses. He’s at once friend, enemy, conscience, and saboteur. It’s like Fight Club if Tyler Durden wore a dog suit and loved Scooby Snacks.

Freud would have a field day here. Wilfred is all id — sex, aggression, pleasure, impulse. Ryan, meanwhile, is ego — repressed, neurotic, obsessed with doing “the right thing.” Their interactions often mirror Freud’s model of the mind in conflict. And the battleground? Reality itself.

But what makes the show so intriguing is that Wilfred isn’t just destructive. He’s also deeply wise in a perverse way. He teaches Ryan how to feel, how to trust, and ultimately how to live, not by giving him control — but by forcing him to let go of it. Just as Tyler Durden said to the Narrator in Fight Club: “Just let go!”

In a society that values productivity over introspection, “Wilfred” dares to ask: what if your mental breakdown is the most honest moment of your life? What if the voice in your head isn’t something to silence, but something to listen to, especially when it’s telling dick jokes?

Wilfred represents the part of us that refuses to play along with the farce of normality. He sniffs out the hypocrisy in Ryan’s family, the cowardice in his friends, and the rot at the heart of every polite interaction. He is, in many ways, Ryan’s subconscious revolt against a life lived on autopilot.

It’s no accident that Ryan meets Wilfred at his lowest point. He’s suicidal not because he wants to die, but because he doesn’t know how to live. Wilfred doesn’t save Ryan with self-help cliches or pharmaceuticals, he drags him through absurdity until Ryan sees the game for what it is. Not a test to be passed, but a joke to be told well.

In the final season, the show doubles down on ambiguity. Wilfred might be a hallucination. Or a trickster god. Or some ancient being teaching Ryan spiritual lessons in the only way Ryan will accept. Or he might just be a dog and Ryan is insane.

The brilliance of “Wilfred” is that it never tells you the answer. Like any good philosophical riddle, it trusts the question to do the work. It doesn’t resolve — it disturbs. It doesn’t comfort — it challenges.

And maybe that’s what makes it feel true.

In a world screaming for certainty, “Wilfred” howls for ambiguity. It’s a show that understands mental illness not as a glitch to be fixed, but as a symptom of something deeper: a culture that has lost touch with play, instinct, and wonder.

So if you ever find yourself talking to a man in a dog suit, don’t panic. Sit down. Light a joint. Listen. He may not be real. But he might just be right.