We just launched our first Marauder — designed, built, and launched in under a year, at a pace American shipbuilding hasn't seen since World War II. The team that made it happen shows up every day and refuses to accept the timelines the rest of the industry takes for granted. Hull two is being outfitted now. Three and four are under active construction. We're scaling fast, and every hull we put in the water is a reflection of what this team is capable of. One mission, one team — and we're just getting started.

I’m making a show about buildings. The concept is simple: do for the man-made world what Planet Earth did for the natural world. But, when I pitched the idea, the answer was that nobody would watch it. So I released a pilot episode on YouTube. It’s got 5.4 million views, 379k likes, and 23k comments. People are interested, and now it’s time to make the full show. Six episodes, filming in the UK, France, Belgium, Germany, Italy, and the USA, and releasing on a streaming service like HBO, Netflix, or Prime. Why does this show matter? First: we’re surrounded by buildings all the time. Look around yourself, right now… what do you see? Buildings are the logical conclusion of everything a society believes in. That’s the real focus of this show: not the buildings themselves, but what they say about us. Second: there’s global dissatisfaction with modern architecture. This feeling gets written about online, but nobody’s given a voice to it on film or TV. That’s what this show will be. But this isn’t just about criticising modernity. That’s easy. This is about learning from the past in order to understand and improve the present, for everybody. Third: there’s a drought of high-quality culture shows. When I spoke to film executives they said that only documentaries about sports, music, or true crime get funded. That’s a colossal missed opportunity. Galleries are always full, content about architecture goes viral online all the time, and people spend their precious holidays visiting beautiful cities. Why no shows about architecture, then? Tourists flock in their millions to see (for example) the buildings of Antoni Gaudí in Barcelona. But, if you asked those same people if they’re interested in “architecture”, they’d probably say no. To put that another way: not many people want to watch “a show about architecture”, but lots of people want to watch a show that illuminates the real world they’re living in, each and every day. What will the show be like? Six episodes, going chronologically through history and arriving at the present, each focussing on the architecture and design of a specific period: 1. Middle Ages 2. Renaissance 3. Enlightenment 4. The Nineteenth Century 5. Art Nouveau & Art Deco 6. Present Day But, in each case, the point isn’t just to learn about that era; the point is to learn about our modern world through those eras and what they’ve left behind. If you watch the pilot episode (included below) you’ll see what I mean. So the show’s not really “about” the past; it’s about the twenty-first century. That’s why it’s called The Modern World. When you think of a typical history show there are loads of interviews, stock footage, archive photos, historical recreations, and graphics. We’re doing none of that. Everything will be filmed on location, because we’re telling our story only through the real world that exists right now. And, rather than going to the most obvious places, we’ll focus on buildings that aren’t well-known but should be more famous. But that’s all big picture; what will it be like on screen? Buildings used to look different in every country, and now they look the same. Why? Because the weather is different everywhere, and buildings were always a way of dealing with that weather, using local materials. Now we have air conditioning and we ship concrete around the world, so we don’t need to design our buildings with regard to local weather or rely on local materials. Look at really old clocks and you’ll notice something: they don’t have a second hand… because it was only invented 300 years ago! Then you look at the present and you realise we’re surrounded by timers, by seconds ticking down and ticking up relentlessly. If we’re looking for a cause of our anxiety-inducing culture, that might be it. When you spend time with the sun-softened bricks and time-warped timbers of old cities you notice that synthetic materials like plastic have taken over. When we’re surrounded by things that feel temporary, how do you think it makes us feel? It’s only by seeing 19th century train stations, designed like cathedrals, that you realise tradition and technology aren’t enemies. New things don’t have to look boring: if the Victorians had designed AI data centres, they’d look like Medieval castles. In the 1920s, at the zenith of Art Deco, people believed technology would uplift humanity. That’s why they decorated their buildings with statues inspired by electricity. Only by seeing their enthusiasm can we realise our own cynicism, and perhaps begin to fix it. All of that… and much, much more. But, above all else, this show is about a way of seeing. If you want to understand any society then you need to look at what it creates, not what it says about itself. There’s a worldview in every single object; our skyscrapers are designed the same way as our phones. Learn to look at this world, to notice its details, and everything else starts to make sense. What now? I’ve been quiet online recently because I’ve been researching and working on scripts for six full-length episodes. Production begins when we’ve raised the funding. The Modern World is coming.

Read old books

I can't believe we are doing this.

“Tradition is not the adoration of ashes, but the preservation of fire.”

A fascinating passage on inherited wealth from Russell Kirk's The Conservative Mind that is quite relevant to Virginia's Golden Age and its contribution to the Founding, as I'll explain. Kirk says: "Unearned income from land, said Lecky, is of all forms of wealth generally that most beneficial to society. 'Society is a compact chiefly for securing to each man a peaceful possession of his property, and, as long as a man fulfills his part in the social compact, his right to what he has received from his father is as valid as his right to what he has himself earned.' People who live upon inherited property have done more for England, by far, than the great bulk of self-made rich men." While this makes many uncomfortable, particularly in America, it is borne out in the history of Virginia As Clifford Dowdey notes, it was by the 1730s that the first real generation of "inheritors" in Virginia were coming about and the Golden Age dawned. These were men still highly competent in the science and art of running a plantation, but who also had, because the wealth was already established, enough leisure time necessary to study the art and science of good governance as well This they did. They were involved at every level, from the vestry to the Council, with their most important contributions coming as Justices of the Peace and Burgesses, and their actions backed by the study of political philosophy and history along with their real-world experience Because they had the wealth to support their political pretensions, and the right culture and sense of virtue to understand the importance of fulfilling their duty to the public and doing so well, Virginia was the most important state in the nation and the one that stamped its face upon the pre-War Between the States republic Thomas Jefferson, George Washington, James Madison, James Monroe, Richard Henry Lee, Benjamin Harrison V, and many more were all important to the Founding, and to the Early Republic. Without them, America would be a very different place. And they were in such a position because of the inherited landed wealth (in Washington's case that he married into) they held. It accentuated and enabled their immense talents Such is worth considering, uncomfortable as it may be