There are a number of candidates for “the book that predicted Trump,” from Octavia Butler’s eerily prescient near-future dystopia that purported to “Make America Great Again” to Corey Robin’s The Reactionary Mind. I have occasionally quipped that Creepiness is the book that truly deserves the title. There is a moment of truth there — I do argue that the creepiness trend was in large part about the breakdown of white masculinity — but it was mostly just a joke about the almost overwhelming creepiness of Trump himself. More recently, though, it has dawned on me that another book in the series may deserve some prophetic credit, namely Why We Love Sociopaths. Or rather, it seems to have initially dawned on Aaron Bady, who tweeted about it a few times, and that prompted me to realize that Trump fits my cultural diagnosis in that book in a way that is, dare I say it, almost creepy.

My argument in Why We Love Sociopaths is that the remarkable prevelance of sociopathic characters in 2000s television was a symptom of a broken cultural contract. With the decline of the Fordist order and the rise of neoliberalism, one long-standing narrative about social mobility and merit had been discarded without being replaced by a plausible alternative. This situation gave rise to a growing sense that the only reliable means to get ahead in the system is to cheat. Certainly we can read Trump 2.0, and especially the seeming public indifference to his flagrant violation of laws and constitutional structures, as an extreme outgrowth of that basic tendency.

I organized my account around three types of sociopaths, all of which seem in retrospect to capture the Trump phenomenon in some way. The first category was the Schemer, which I mainly associated with cartoon shows where the characters are attempting to get away with mischief for its own sake. My key example was Eric Cartman from South Park, the strangely charismatic and resourceful child who periodically comes close to taking over the United States and even the world. Though Trump obviously lacks Cartman’s discipline and focus, there is something of the childish schemer in Trump — though that element is less prevalent in the embittered end-state we are now witnessing.

The second was the Climber, who stops at nothing to climb the social ladder. My key examples here was Don Draper from Mad Men. Here the connection to Trump is admittedly more distant, since my analysis was focused on meritocrats of the Obama type, who I argue should not be counted on to challenge the basic terms of the system that enabled their rise. Yet I do start out with an analysis of reality television, which I present as a “dumbed-down” version of the same basic worldview we see in prestige dramas like Mad Men and The Wire, and so I want to claim partial credit due to Trump’s association with reality TV.

The final sociopathic archetype was the Enforcer, the lawman who breaks the law in order to save it. My key example here was Jack Bauer of 24, who murders and tortures his way to stopping terrorist attacks that only see seems to have the insight to predict. Trump himself has identified unambiguously with this category, in his infamous quote (attributed to Napoleon) claiming that it is impossible to violate the law in service of your country. Clearly he is counting on his fellow citizens to decide that it doesn’t matter if he follows the legal niceties as long as he gets things done — nor is there any way to deny that the system as constituted on January 19, 2024, was basically incapable of delivering any meaningful results in a way that would be legible to the public.

Not only does Trump fit, in some way, into all of these categories, but his appeal depends on his ability to pivot among them. His status as a Cartman-esque provocateur gives people license to dismiss his scarier or more nonsensical declarations as mere bluster; his reputation as a (sort of) self-made businessman is key to his appeal; and his promise to “get things done” by any means necessary both emboldens his supporters and cows his enemies into submission. You can’t hold all three of these images together simultaneously, but they often combine in a kind of one-two punch. Cartman Trump seems most useful for such strategies. For instance, the existence of Climber Trump allows people to use the Cartman Trump to dismiss his destructive economic plans as bluster, while the frightening ambitions of Jack Bauer Trump can be rendered more palatable by reference to Cartman Trump. But on the less jovial side, it is precisely the Climber Trump that renders him plausible to many as a Jack Bauer figure who won’t be beholden to political restraints.

While in my conclusion I do offer up the feeble hope that, in a broken system, we might all benefit from being more sociopathic — a counterintuitive soundbite that was for a time picked up by Slavoj Žižek in his public lectures — my overall assessment of this trend is negative. It does offer a diagnostic of our broken system, sometimes even (in the case of The Wire in particular) a remarkably insightful one, and I admit up front that I enjoyed many of these shows (including South Park and some reality TV).

But its dominance of the entertainment field was, I believed, socially corrosive, and I think events have proven me correct. Trump 2.0 is not just politics as entertainment, which is bad enough, but it’s politics as 2000s entertainment, it’s politics as designed by people who watched way too much South Park, 24, and reality TV. I’m not making this up. Literal Republicans say as much, about themselves. Ross Douthat wrote a famous column on the rise of “South Park Republicans,” motivated primarily by a brash anti-PC attitude rather than any positive ideology. Supreme Court Justice Scalia — supposedly “the smart one” — literally cited 24 in an opinion, and the current conservative supermajority are all intellectual heirs of Scalia. As for the influence of reality TV, Trump’s trajectory speaks for itself, and clearly neither J.D. Vance nor any of Trump 2.0’s luminaries are “here to make friends.”

Obviously sociopath TV is not the only cause of Trump — nor am I saying as much. I’m saying the trend itself arose as a symptom of social breakdown, which it then helped to exacerbate. The one thing my diagnosis excludes is social media, for which I can perhaps be forgiven since I was writing in 2012 (and the book was after all about TV). But I think that many of the attitudes inculcated by South Park, reality TV, and 24 — the reflexive anti-PC “provocativeness,” the endless zero-sum competition for “clout,” and the ambient menace of violent fantasies — have shaped the social media field as well.

I’m not sure how much credit I really deserve for this prediction, since the fact of having written the book didn’t help me to predict either Trump’s success in the primaries nor his Electoral College technicality. But then, like most sane people, I had not up till that point given Donald Trump — who was little more than a vapid media phenomenon — much thought. If I had, perhaps I would have seen how well the cultural trends I diagnosed in Sociopaths converged in him. The cost, though, is that I would have squandered some of those precious remaining years and months before I was forced to spend so much of my time and energy thinking about one of the most worthless human beings ever to live. I stand behind that trade-off, even if I had no way of knowing I was making it. And if it turns out that my little book about TV trends, properly contextualized, could have prevented Trump’s rise — all I can do is apologize.