By Brian Lowry
Artwork by Barbara Kruger<\/h4>\n![\"<strong>Barbara](\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/nxObVCSnc7axs5pJrLXuAw--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTYzNTtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/thewrap.com\/09375db46b4c306e33bb246f5e1aa876\"\/)
<\/span><\/div>\nBarbara Kruger<\/strong> Untitled (Can money buy you love?), 2011 Archival pigment print. 32 by 50 inches. Courtesy 0f the artist and Spr\u00fcth Magers<\/p>\nGordon Gekko, the amoral investor in Oliver Stone\u2019s Wall Street, got it partly right when he said, \u201cGreed is good.\u201d Greed might not be beneficial to society, as Michael Douglas\u2019 character argued, but in recent times, it has certainly helped produce good TV.<\/p>\n
Granted, greed has taken many 21st-century iterations in television that Gekko scarcely could have imagined back in 1987, among them an abundance of unscripted shows, from the Real Housewives franchise to game shows (including one called Greed, which Fox aired in 1999 as its answer to ABC\u2019s Who Wants to Be a Millionaire) to what amounts to real-estate porn. Moreover, programming touching on wealth and class issues now originates around the globe, with a particularly rich vein of South Korean fare punctuated by Squid Game, which has found a highly receptive audience in the U.S. and internationally over three cutthroat seasons on Netflix.<\/p>\n
More from TheWrap<\/strong><\/p>\nWhen it comes to scripted drama, Succession, the recent three-time Emmy winner as outstanding drama series has emerged as the poster child for attitudes toward the uber-rich in the C-suite. The HBO show also highlighted the wide range of behavior that might fall under the broad \u201cgreed\u201d heading, from those desperate for money (see Squid Game) to those climbing the corporate ladder (Industry) to those either striving for or barely clinging to suburban bliss\u2014a theme that runs through a host of shows, including The White Lotus, Your Friends & Neighbors, and No Good Deed.<\/p>\n
Not surprisingly, the most unsettling look at modern capitalism, Severance, weds distrust of the corporate class with technology\u2014specifically, a company so committed to its bottom line that it devises a high-tech surgical means to sever employees\u2019 memories of what happens outside of work so they can pursue their office life unimpeded by thoughts unrelated to their jobs. As the Apple TV+ series suggests, what better way to ensure the wholesale pursuit of the almighty dollar than eradicating pesky distractions, like home and family, in the name of a more perfect work-life balance?<\/p>\n
The exploration of wealth and status in television is nothing new\u2014think back to the frothy soaps of the 1970s, \u201880s and \u201890s such as Dallas, Dynasty, and Beverly Hills, 90210\u2014but the genre has grown more complex and nuanced in the streaming age.<\/p>\n
Lately, shows have included more pointed considerations about the widening divisions between economic classes. Squid Game\u2014inspired by the lingering effects of the 2010s financial crisis in South Korea\u2014became a surprise worldwide sensation in 2021 that tapped into fears about income and class inequality that have become even more pronounced in recent years. In its second season, the show revisited that desperation though its impact was blunted by a steadfast focus on the have-nots and not the shadowy haves who financed the deadly competition.<\/p>\n
Other series have found distinctive ways to explore the same dynamic. HBO\u2019s The Gilded Age, which returned for its third season in June, looks to historical precedent by zooming in on the tension between old and new money in 1880s New York, when robber barons tried to top each other with their lavish personal spending. The network\u2019s lamentably finished behemoth Succession, meanwhile, focused on a deeply dysfunctional media family\u2014inspired in part by Rupert Murdoch and his progeny\u2014that seemed to be ripped from recent headlines. Over its four seasons, the show dissected the gap between those who grew up with wealth\u2014specifically, heirs to a corporate fortune who were born on third base and convinced that they\u2019d hit a triple\u2014and those who must climb the economic ladder themselves, including distant relatives like gawky cousin Greg and romantic partners who married into the family.<\/p>\n
Consider the Roy family\u2019s treatment of Tom (Matthew Macfadyen), who\u2019s granted relatively high-level jobs in the Roy-controlled conglomerate thanks to his marriage to ambitious first daughter, Shiv, but is just as easily dismissed and ridiculed because he so nakedly covets what they already have. As digital media strategist Elizabeth Spiers observed in The New York Times, \u201cPower and money are fine if you have them already. It\u2019s wanting to acquire them that\u2019s the problem.\u201d<\/p>\n
Still, greed, and its various implications, aren\u2019t confined to the uber-rich. In Netflix\u2019s No Good Deed, the sale of a house in L.A.\u2019s Los Feliz neighborhood unleashes the worst impulses in a swath of potential buyers (while also exposing a central mystery about the sellers), reinforcing the lengths to which people will go to secure their claim to the American dream. Many recent shows depict greed as less about getting what you don\u2019t already have than hanging onto what you currently do.\u00a0Take the rich investor (Jon Hamm) who turns to crime to sustain his lavish lifestyle in Apple TV+\u2019s Your Friends & Neighbors. He counts on the fact that everyone in his personal circle is so rich that they might not even notice if a $250,000 watch goes missing.<\/p>\n
![\"<strong>Barbara](\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/DL9P.o2LDI5vfDnGEMIXqQ--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTEwMjU7Y2Y9d2VicA--\/https:\/\/media.zenfs.com\/en\/thewrap.com\/480fe482b180d34498f98ab255f3b04f\"\/)
<\/span><\/div>\nBarbara Kruger<\/strong>
Untitled (Who is housed when money talks), 2020<\/p>\nHamm\u2019s Andrew \u201cCoop\u201d Cooper has much in common with a key figure in last season\u2019s The White Lotus, an heir to Succession that also shares some Squid Game DNA in its rumination about the divide between the high-class patrons of a resort hotel chain and those tasked with serving them. Like Cooper, Jason Isaac\u2019s Timothy Ratliff operates outside the law to preserve what he has, while hiding the threat of losing it from everyone close. Unbeknownst to his wife and kids, he\u2019s on the brink of arrest for financial crimes. As the screws tighten through a series of increasingly urgent calls and messages from back home, he begins to ponder extreme lengths to protect not only his reputation but that of his entire family\u2014convinced that his brood has become so accustomed to their private-suite lifestyle that depriving them of that blanket of comfort seems unimaginable.<\/p>\n
Admittedly, series creator Mike White\u2019s vision isn\u2019t as dystopian as the idea of the cash-strapped betting their lives to pursue financial lifelines, all for the entertainment of one-percenters who view human sacrifices as the ultimate form of entertainment. It\u2019s not a huge leap, however, from the challenges facing Squid Game contestants to those of White Lotus employees charged with pampering their well-heeled clientele.<\/p>\n
Historically, much of TV viewing has been aspirational, offering regular viewers glimpses into well-manicured lives behind high gates. Early TV hits like Queen for a Day rewarded women for sharing their hard-luck stories, while the syndicated \u201880s hit Lifestyles of the Rich and Famous documented the fabulousness of mansions and VIP rooms. In the 2000s, The Apprentice burnished Donald Trump\u2019s image as a titan of industry and paragon of ostentatious wealth, with considerable creative license thanks to the producing acumen of Survivor producer Mark Burnett.<\/p>\n
While most of these shows focused on the symbols of wealth, their underlying dramatic appeal centered on what a sizable bank account allows people to do\u2014and get away with. In the case of The White Lotus and Succession, that includes murder.<\/p>\n
For those on the other side of the wealth gap, there\u2019s comfort in seeing the rich grappling with the \u201cMore money, more problems\u201d part of that equation. Sure, they might have fancy cars and live in mansions, but they can still be as messed up and miserable as the rest of us.<\/p>\n
Having money is one thing, but there\u2019s a consistent thread running through these shows, beyond their voyeuristic appeal. True happiness can remain elusive, in a way that reinforces the often yawning gap between economic privilege and character. Or as Parker Posey\u2019s oft-quoted mother\u00a0in\u00a0The White Lotus puts it,\u00a0\u201cJust because people are rich doesn\u2019t mean they\u2019re not trashy.\u201d<\/p>\n
![\"Mural](\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/PdGECawPIey4ewfs0fwwLA--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTExODQ7Y2Y9d2VicA--\/https:\/\/media.zenfs.com\/en\/thewrap.com\/69d3647d7327729ccdf3100ff3602cfd\"\/)
<\/span><\/div>\nMural for Housing Is A Human Right, the housing advocacy division of AIDS Healthcare Foundation, 6500 Sunset Boulevard, Los Angeles
Courtesy of the artist, Spr\u00fcth Magers, and AIDS Healthcare Foundation<\/p>\n
![\"<strong>Barbara](\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/NcXaMaPjkDJFYTNL5Q5Law--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTk2MDtjZj13ZWJw\/https:\/\/media.zenfs.com\/en\/thewrap.com\/2894d05ad64aa8ab8081fe72449d9593\"\/)
<\/span><\/div>\nBarbara Kruger
<\/strong>Untitled (Greedy Schmuck), 2012
Digital print on vinyl
213 \u00d7 274 \u00d7 6.4 cm
83 7\/8 \u00d7 107 7\/8 \u00d7 2 1\/2 inches
MSPM BKR 34199<\/p>\nThe Art of Greed
Barbara Kruger<\/h2>\n
We know Barbara Krugrer\u2019s art when we see it. Big, bold words that put their finger on the most pressing issues we experience. What we like (shopping, fashion, entertainment) and what we want (power, money, control). She often employs photographs\u2014black and white, grainy, enlarged\u2014overprinted with white text on bands of bright red.<\/p>\n
In 1993, she published Remote Control, a collection of essays addressing who has power to speak and whose voice is heard. A frequent topic was the form and content of television, from personalities like Bob Barker, Johnny Carson and Pee-wee Herman to shows like Dallas, The Simpsons and Saturday Night Live. In one piece, she dissects Lifestyles of the Rich and Famous. \u201cTelevision\u2019s penchant for evacuating meanings and roughing up the mechanics of transference and identification plays havoc with the viewer\u2019s actual positioning,\u201d she writes, noting that viewers can either watch on-screen excess with \u201cdistanced amusement\u201d or \u201cproject madly into the melee.\u201d<\/p>\n
The Reagan-era seductions Kruger critiqued in Remote Control are just as prevalent today. Kruger draws us in with her words and images only to highlight the disparities\u2013of the Western world. She captures our insatiable hunger for more, all the time, while reminding us to be vigilant about where that pursuit will lead us. \u2014Rochelle Steiner<\/p>\n
<\/p>\n![\"\"](\"https:\/\/s.yimg.com\/ny\/api\/res\/1.2\/ZjbnnoiFTp8r9HBa1_4I0A--\/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTM4O2NmPXdlYnA-\/https:\/\/media.zenfs.com\/en\/thewrap.com\/942d530a71f0671c0db8b364d0aceb3e\"\/)
<\/div>\n<\/a><\/p>\n
The post Greed Is Good\u2026 for TV Drama<\/a> appeared first on TheWrap<\/a>.<\/p>\n<\/div>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source sg.news.yahoo.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"By Brian Lowry Artwork by Barbara Kruger Barbara Kruger Untitled (Can money buy you love?), 2011 Archival pigment print. 32 by 50 inches. Courtesy 0f the artist and Spr\u00fcth Magers Gordon Gekko, the amoral investor in Oliver Stone\u2019s Wall Street, got it partly right when he said, \u201cGreed is good.\u201d Greed might not be beneficial […]<\/p>\n","protected":false},"author":2,"featured_media":2019259,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25173],"tags":[370826,370827,312463,103580,314479],"class_list":["post-2019258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists","tag-barbara-kruger","tag-gordon-gekko","tag-michael-douglas","tag-squid-game","tag-white-lotus"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2025\/09\/Greed-Is-Good\u2026-for-TV-Drama.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2019258","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2019258"}],"version-history":[{"count":0,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2019258\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2019259"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2019258"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2019258"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2019258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Barbara Kruger<\/strong> Untitled (Can money buy you love?), 2011 Archival pigment print. 32 by 50 inches. Courtesy 0f the artist and Spr\u00fcth Magers<\/p>\n Gordon Gekko, the amoral investor in Oliver Stone\u2019s Wall Street, got it partly right when he said, \u201cGreed is good.\u201d Greed might not be beneficial to society, as Michael Douglas\u2019 character argued, but in recent times, it has certainly helped produce good TV.<\/p>\n Granted, greed has taken many 21st-century iterations in television that Gekko scarcely could have imagined back in 1987, among them an abundance of unscripted shows, from the Real Housewives franchise to game shows (including one called Greed, which Fox aired in 1999 as its answer to ABC\u2019s Who Wants to Be a Millionaire) to what amounts to real-estate porn. Moreover, programming touching on wealth and class issues now originates around the globe, with a particularly rich vein of South Korean fare punctuated by Squid Game, which has found a highly receptive audience in the U.S. and internationally over three cutthroat seasons on Netflix.<\/p>\n More from TheWrap<\/strong><\/p>\n When it comes to scripted drama, Succession, the recent three-time Emmy winner as outstanding drama series has emerged as the poster child for attitudes toward the uber-rich in the C-suite. The HBO show also highlighted the wide range of behavior that might fall under the broad \u201cgreed\u201d heading, from those desperate for money (see Squid Game) to those climbing the corporate ladder (Industry) to those either striving for or barely clinging to suburban bliss\u2014a theme that runs through a host of shows, including The White Lotus, Your Friends & Neighbors, and No Good Deed.<\/p>\n Not surprisingly, the most unsettling look at modern capitalism, Severance, weds distrust of the corporate class with technology\u2014specifically, a company so committed to its bottom line that it devises a high-tech surgical means to sever employees\u2019 memories of what happens outside of work so they can pursue their office life unimpeded by thoughts unrelated to their jobs. As the Apple TV+ series suggests, what better way to ensure the wholesale pursuit of the almighty dollar than eradicating pesky distractions, like home and family, in the name of a more perfect work-life balance?<\/p>\n The exploration of wealth and status in television is nothing new\u2014think back to the frothy soaps of the 1970s, \u201880s and \u201890s such as Dallas, Dynasty, and Beverly Hills, 90210\u2014but the genre has grown more complex and nuanced in the streaming age.<\/p>\n Lately, shows have included more pointed considerations about the widening divisions between economic classes. Squid Game\u2014inspired by the lingering effects of the 2010s financial crisis in South Korea\u2014became a surprise worldwide sensation in 2021 that tapped into fears about income and class inequality that have become even more pronounced in recent years. In its second season, the show revisited that desperation though its impact was blunted by a steadfast focus on the have-nots and not the shadowy haves who financed the deadly competition.<\/p>\n Other series have found distinctive ways to explore the same dynamic. HBO\u2019s The Gilded Age, which returned for its third season in June, looks to historical precedent by zooming in on the tension between old and new money in 1880s New York, when robber barons tried to top each other with their lavish personal spending. The network\u2019s lamentably finished behemoth Succession, meanwhile, focused on a deeply dysfunctional media family\u2014inspired in part by Rupert Murdoch and his progeny\u2014that seemed to be ripped from recent headlines. Over its four seasons, the show dissected the gap between those who grew up with wealth\u2014specifically, heirs to a corporate fortune who were born on third base and convinced that they\u2019d hit a triple\u2014and those who must climb the economic ladder themselves, including distant relatives like gawky cousin Greg and romantic partners who married into the family.<\/p>\n Consider the Roy family\u2019s treatment of Tom (Matthew Macfadyen), who\u2019s granted relatively high-level jobs in the Roy-controlled conglomerate thanks to his marriage to ambitious first daughter, Shiv, but is just as easily dismissed and ridiculed because he so nakedly covets what they already have. As digital media strategist Elizabeth Spiers observed in The New York Times, \u201cPower and money are fine if you have them already. It\u2019s wanting to acquire them that\u2019s the problem.\u201d<\/p>\n Still, greed, and its various implications, aren\u2019t confined to the uber-rich. In Netflix\u2019s No Good Deed, the sale of a house in L.A.\u2019s Los Feliz neighborhood unleashes the worst impulses in a swath of potential buyers (while also exposing a central mystery about the sellers), reinforcing the lengths to which people will go to secure their claim to the American dream. Many recent shows depict greed as less about getting what you don\u2019t already have than hanging onto what you currently do.\u00a0Take the rich investor (Jon Hamm) who turns to crime to sustain his lavish lifestyle in Apple TV+\u2019s Your Friends & Neighbors. He counts on the fact that everyone in his personal circle is so rich that they might not even notice if a $250,000 watch goes missing.<\/p>\n Barbara Kruger<\/strong> Hamm\u2019s Andrew \u201cCoop\u201d Cooper has much in common with a key figure in last season\u2019s The White Lotus, an heir to Succession that also shares some Squid Game DNA in its rumination about the divide between the high-class patrons of a resort hotel chain and those tasked with serving them. Like Cooper, Jason Isaac\u2019s Timothy Ratliff operates outside the law to preserve what he has, while hiding the threat of losing it from everyone close. Unbeknownst to his wife and kids, he\u2019s on the brink of arrest for financial crimes. As the screws tighten through a series of increasingly urgent calls and messages from back home, he begins to ponder extreme lengths to protect not only his reputation but that of his entire family\u2014convinced that his brood has become so accustomed to their private-suite lifestyle that depriving them of that blanket of comfort seems unimaginable.<\/p>\n Admittedly, series creator Mike White\u2019s vision isn\u2019t as dystopian as the idea of the cash-strapped betting their lives to pursue financial lifelines, all for the entertainment of one-percenters who view human sacrifices as the ultimate form of entertainment. It\u2019s not a huge leap, however, from the challenges facing Squid Game contestants to those of White Lotus employees charged with pampering their well-heeled clientele.<\/p>\n Historically, much of TV viewing has been aspirational, offering regular viewers glimpses into well-manicured lives behind high gates. Early TV hits like Queen for a Day rewarded women for sharing their hard-luck stories, while the syndicated \u201880s hit Lifestyles of the Rich and Famous documented the fabulousness of mansions and VIP rooms. In the 2000s, The Apprentice burnished Donald Trump\u2019s image as a titan of industry and paragon of ostentatious wealth, with considerable creative license thanks to the producing acumen of Survivor producer Mark Burnett.<\/p>\n While most of these shows focused on the symbols of wealth, their underlying dramatic appeal centered on what a sizable bank account allows people to do\u2014and get away with. In the case of The White Lotus and Succession, that includes murder.<\/p>\n For those on the other side of the wealth gap, there\u2019s comfort in seeing the rich grappling with the \u201cMore money, more problems\u201d part of that equation. Sure, they might have fancy cars and live in mansions, but they can still be as messed up and miserable as the rest of us.<\/p>\n Having money is one thing, but there\u2019s a consistent thread running through these shows, beyond their voyeuristic appeal. True happiness can remain elusive, in a way that reinforces the often yawning gap between economic privilege and character. Or as Parker Posey\u2019s oft-quoted mother\u00a0in\u00a0The White Lotus puts it,\u00a0\u201cJust because people are rich doesn\u2019t mean they\u2019re not trashy.\u201d<\/p>\n Mural for Housing Is A Human Right, the housing advocacy division of AIDS Healthcare Foundation, 6500 Sunset Boulevard, Los Angeles Barbara Kruger We know Barbara Krugrer\u2019s art when we see it. Big, bold words that put their finger on the most pressing issues we experience. What we like (shopping, fashion, entertainment) and what we want (power, money, control). She often employs photographs\u2014black and white, grainy, enlarged\u2014overprinted with white text on bands of bright red.<\/p>\n In 1993, she published Remote Control, a collection of essays addressing who has power to speak and whose voice is heard. A frequent topic was the form and content of television, from personalities like Bob Barker, Johnny Carson and Pee-wee Herman to shows like Dallas, The Simpsons and Saturday Night Live. In one piece, she dissects Lifestyles of the Rich and Famous. \u201cTelevision\u2019s penchant for evacuating meanings and roughing up the mechanics of transference and identification plays havoc with the viewer\u2019s actual positioning,\u201d she writes, noting that viewers can either watch on-screen excess with \u201cdistanced amusement\u201d or \u201cproject madly into the melee.\u201d<\/p>\n The Reagan-era seductions Kruger critiqued in Remote Control are just as prevalent today. Kruger draws us in with her words and images only to highlight the disparities\u2013of the Western world. She captures our insatiable hunger for more, all the time, while reminding us to be vigilant about where that pursuit will lead us. \u2014Rochelle Steiner<\/p>\n <\/p>\n <\/a><\/p>\n The post Greed Is Good\u2026 for TV Drama<\/a> appeared first on TheWrap<\/a>.<\/p>\n<\/div>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source sg.news.yahoo.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" By Brian Lowry Artwork by Barbara Kruger Barbara Kruger Untitled (Can money buy you love?), 2011 Archival pigment print. 32 by 50 inches. Courtesy 0f the artist and Spr\u00fcth Magers Gordon Gekko, the amoral investor in Oliver Stone\u2019s Wall Street, got it partly right when he said, \u201cGreed is good.\u201d Greed might not be beneficial […]<\/p>\n","protected":false},"author":2,"featured_media":2019259,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25173],"tags":[370826,370827,312463,103580,314479],"class_list":["post-2019258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists","tag-barbara-kruger","tag-gordon-gekko","tag-michael-douglas","tag-squid-game","tag-white-lotus"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2025\/09\/Greed-Is-Good\u2026-for-TV-Drama.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2019258","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2019258"}],"version-history":[{"count":0,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2019258\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2019259"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2019258"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2019258"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2019258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/span><\/div>\n
Untitled (Who is housed when money talks), 2020<\/p>\n<\/span><\/div>\n
Courtesy of the artist, Spr\u00fcth Magers, and AIDS Healthcare Foundation<\/p>\n<\/span><\/div>\n
<\/strong>Untitled (Greedy Schmuck), 2012
Digital print on vinyl
213 \u00d7 274 \u00d7 6.4 cm
83 7\/8 \u00d7 107 7\/8 \u00d7 2 1\/2 inches
MSPM BKR 34199<\/p>\nThe Art of Greed
Barbara Kruger<\/h2>\n<\/div>\n