Photograph by Nathaniel St. Clair
America’s richest have never been richer. Our over 800 billionaires ended 2024 worth a combined $6.72 trillion. Today, almost two months later, Americans make up 14 of the 15 richest people in the world. Just these 14 alone hold a combined net wealth of over $2.5 trillion.
One predictable consequence of numbers like these: Our world’s “super yacht” sector is doing spectacularly well, as the annual Miami International Boat Show last week convincingly confirmed. The star of this year’s show turned out to be a super yacht nearly the length of a football field.
Drivers on America’s highways and byways, meanwhile, are now needing to make room for the newly released latest luxury super car from Rolls-Royce. The new Black Badge Spectre can “sprint from zero to 60 mph in just 4.1 seconds.” The base price: a mere $490,000.
Amid all this excess, the fortunes — and power — of America’s most fortunate just keep mounting ever higher. At the expense of the rest of us. The world’s wealthiest billionaire, Elon Musk, has found an particularly lucrative new hobby: axing the jobs of federal employees working at agencies that protect the health and economic security of average Americans.
Researchers and analysts worldwide are, for their part, continuing to carefully track the ongoing — and historic — concentration of America’s wealth. But Hollywood, these days, may actually be tracking this concentration even closer.
The wealth, privileges, and formidable clout of our richest, Hollywood understands, are outraging average Americans. We’ve become a nation hungry for entertainment that expresses that outrage, and Hollywood has been all too happy to offer up that entertaining.
“The popularity of ‘eat the rich’ media — like Saltburn, White Lotus, Parasite, Triangle of Sadness, The Menu, Infinity Pool, The Fall of the House of Usher, and the Knives Outmovies — has reached a fever pitch,” as the culture critic Kelsey Eisen puts it.
This “vilification of the rich,” adds Eisen, regularly includes “rich characters undergoing some terrible event — ranging from marital troubles to shipwrecks to even death — as some sort of comeuppance for being wealthy.”
“We do love watching the 1% get their comeuppance, don’t we?” agrees Adrian Lobb, another widely published and perceptive writer on contemporary culture.
Lobb last year interviewed Jason Isaacs, one of the stars of The White Lotus, an Emmy Award-winning comedy drama created for HBO. Isaacs told Lobb that he also “absolutely” loves the joy of the “comeuppance” moments swirling all around us.
“We watch these people who look like they’ve got everything,” Isaacs explains, “and console ourselves with the fact that they’re miserable as hell.”
The White Lotus features “sun, sea, sex” and super-rich secrets, notes the culture analyst Lobb, “with a side order of slaying.” Each season of the series showcases a set of gastronomically obsessed wealthy out to enjoy life at an exotic luxury resort, with no guest, quips writer and filmmaker Alyssa De Leo, “safe from being skewered — figuratively and literally.”
Another skewering of the “successful” takes place, De Leo observes, in the widely acclaimed film Triangle of Sadness, the story of an ultra-wealthy cruise ship that sinks and leaves the survivors “stranded on a desert island” with “the upper-class guests lacking any resources or knowledge of how to survive.”
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