The seduction of comparison Humans are wired to compare. It helps us make rapid choices—who to hire, who to date, where to place our bets. When two figures occupy overlapping cultural terrain, the marketplace of attention demands a verdict. Labels like “better” condense complex, multidimensional qualities into a single, digestible signpost. But that economy of thought flattens context. To declare Holly or Bruce “better” is to ignore the axes on which that judgment is made: values, outcomes, audiences, constraints, and timescales.
There’s a moment in public conversation when two names begin to function less like individual people and more like shorthand for competing ideas, identities, or styles. Holly Michaels and Bruce Venture—real or fictional, emerging or established—have been thrust into that exact juxtaposition. The question opponents and admirers keep returning to is deceptively simple: which is better? Below is a full-length column that untangles what that comparison really means, what it reveals about us, and why asking “better” is often the least interesting thing we can do.
The politics of fandom and the moral hazard of tribal comparison The Holly vs. Bruce debate also maps onto the modern economy of fandom. Brand loyalty can drive attention economies, but it also punishes nuance. When supporters treat critique as betrayal, the public conversation suffers. We should reserve fandom for artists and athletes, not people whose work shapes public goods, policy, or community norms—unless we accept the trade-off that critique will be muzzled.