Article
Culture
Economics
Ethics
6 min read

The rights and wrongs of making money with meme coins

When does investing become speculating, or even addictive gambling?
A montage shows Trump with a raised fist against other images of him and the phrase 'fight fight fight'.
$Trump coin marketing image.
gettrumpmemes.com,

Donald Trump’s “liberation day” tariffs may have driven sharp swings in global financial markets, but his actions in markets a few months earlier were in some ways even more peculiar.

On the Friday before his inauguration as the 47th US President in January, the Republican surprised many with the launch of the $TRUMP memecoin, described by its website as “the only official Trump meme”. The cryptocurrency token, in which Trump’s family business owned a stake, initially soared in value to more than $14bn over that following weekend. 

Then, on the Sunday, Trump’s wife Melania launched her own memecoin, $MELANIA, which reached a value of $8.5bn. Even the pastor who spoke at the president’s inauguration subsequently launched his own memecoin. 

For those wondering what exactly a memecoin is, you are not alone. In short, they are a form of cryptocurrency - an asset class that itself has attracted plenty of questions about its substance and purpose - representing online viral moments. They have no fundamental value or business model and, according to the US securities regulator, “typically have limited or no use or functionality”. 

Donald and Melania Trump’s coins subsequently plunged in price, but still have a value of around $2.5bn and $214mn respectively, according to website CoinMarketCap. 

There are plenty of others in existence. PEPE, based on a comic frog, has a value of around $3.6bn; BONK, a cartoon dog, has a market cap of $1.5bn; and PNUT, a reference to a squirrel euthanised by authorities in New York and about which Trump was allegedly “fired up” (although doubt has since been cast on the president’s involvement in the matter), is still valued at around $174mn, despite having fallen sharply in price.  

Dogecoin, seen as the world’s first memecoin and originally created as a joke, boasts a market value of around $25bn. (There are other memecoins which may not be suitable for these pages). 

Some people’s willingness to buy an “asset” with no use or fundamental value may seem strange to more traditional investors. But it can be viewed as just one manifestation of the speculative investor behaviour evident since the onset of the coronavirus pandemic and, indeed, at times throughout history. 

The price of Bitcoin recently rose above $100,000, despite many investors still viewing it as having little or no value (in 2023 the UK’s Treasury select committee described cryptocurrencies as having “no intrinsic value, huge price volatility and no discernible social good”). In early 2021, shares in GameStop - a loss-making US video games retailer that some hedge funds were betting against - rocketed as much as 2,400 per cent, as retail investors piled in, many with the aim of inflicting pain on the hedge fund short sellers (in that respect at least, a highly successful strategy that became the subject of the film Dumb Money). The huge rise in AI and other tech stocks in recent years - until the recent tariff-driven volatility - has also been described as a bubble by some commentators. 

Whether or not such episodes can be compared to infamous bouts of speculative mania in history depends on your point of view (and often can only be judged with the benefit of hindsight) - be it the 17th century Dutch tulip bulb mania, shares in the South Sea Company in the 18th century or the dotcom boom and bust of the late 1990s and early 2000s. 

But it does give rise to the question of when investment should start to be described as speculation or even as gambling? And what are the rights and wrongs of any of those activities? 

There can be negative effects, for instance if the actions of speculators force businesses in the real economy to change their plans or divert time and resources... 

Gambling can be thought of as risking a stake on, for instance, the result of a game of chance or sport in the hope of a bigger payout. While often the result is purely down to chance, in some cases a strategy or an element of research (for instance of a horse or football team’s form) can be used. Investment, in contrast, tends to involve purported economic utility and assets believed to have some sort of underlying value, and holds the hope of future profit (although there are also plenty of bad investments or those that have gone to zero). While an investor must be prepared to lose their entire stake, in some cases such an event is relatively unlikely (for instance, if they buy a fund tracking the performance of a major stock exchange). Speculation is harder to define, but is generally seen as shorter term than investment, with more chance of a bigger gain or loss, and dependent on price fluctuations. Rightly or wrongly, the term has a more negative connotation than investment. 

One writer who explored the ethics of these activities was Oswald von Nell-Breuning, a Jesuit theologian and economist who served as an adviser to the Pope and who was banned from publishing under the Nazis. 

While he found that “one general definition cannot capture all the nuances” of speculation, he identified two different types of speculative activity - one that was purely trying to make a profit from financial market trading, and one based on trying to create a viable business. (See this article in the Catholic Social Science Review for a fuller explanation of Nell-Breuning’s views on speculation). 

As the CSSR article shows, Nell-Breuning found that there can be positive effects from speculation - one might think of better liquidity and price discovery in a market, while, in commodity futures markets, speculators allow producers to hedge risk

But he also argued that there can be negative effects, for instance if the actions of speculators force businesses in the real economy to change their plans or divert time and resources away from production. 

And whereas gambling typically takes place within a circle of players who have chosen to take part, speculation, he wrote, can affect a greater portion of society - for instance, if it affects the price of shares or bonds they hold. 

The Bible - on which Nell-Breuning’s faith and analysis was based - does not take a prescriptive approach to such activities. But it does provide some interesting guidance.  

An entrepreneurial approach to business and investment is applauded, for instance when the writer of the book of Proverbs (traditionally believed to be King Solomon) praises the virtues of “an excellent wife”. These include investing in a field and using her earnings from business to plant a vineyard, and feeding her family from her gains. 

Jesus tells a story of a master who, before going on a journey, gives his property to his servants, each according to their ability. To one he gives five “talents” (a large unit of money), to a second two and to a third servant he gives one. 

The first servant trades with his talents and makes five more talents - a 100 per cent profit - and is applauded by the master on his return. The second servant also trades and similarly makes two more talents and is again applauded. 

But the third servant, being afraid and believing the master to be “a hard man”, hides the money in a hole in the ground. He is condemned as “wicked and slothful”, and told that he should at least have put the money in the bank. 

While Jesus’s story may primarily be about how we view God’s nature, how we use our God-given abilities and whether or not we can take risks in faith for Him, it is also hard not to see investment and indeed wise speculation as being virtuous activities here. Putting the money into a bank account is, in this story anyway, more of a fallback option. 

But the Bible also warns us against putting money above all else in our lives. The love of money is, famously, a root of all sorts of evil, while we are also told to be content with what we have, and that “wealth gained hastily will dwindle”. 

Nell-Breuning similarly warns that a “get-rich-quick” mindset, when this is placed above all else, can be harmful, and advises caution in situations where the lure of big profits can lead the speculator into market manipulation or fraud. 

After all, both gambling and crypto trading have the potential to become dangerous and damaging addictions needing treatment

Ultimately, Nell-Breuning struggled to come to a simple conclusion on the question of whether speculation, in and of itself, is morally wrong. It is, he wrote, a judgment call for those involved. 

When making such decisions ourselves, his - and the Bible’s - warnings may be worth bearing in mind. 

Review
Culture
Film & TV
Monsters
8 min read

Here's why E.T. is in my list of top Halloween films

What Halloween films reveal about our fears, our families, and our fondness for the ridiculous
A child and E.T. ride a BMX bike across a moon lit sky.
Universal Pictures.

 

Halloween can be exhausting these days. As we continue to import and cement more and more of the American cultural experience, and as I age into maturity and (especially) fatherhood, I find myself spending All Hallow’s Eve in two ways (neither of which is prayer and meditation of the hallowed Saints of the Church, or the Faithful Departed Souls who now rest in Christ): I can take my daughter trick-or-treating, or I can stay home and desperately throw handfuls of sweets and the horde of children in fancy dress who arrive at my door. I always choose option A…I’m a priest…I have a ready-made costume. To aid in the convalescence necessary after such an exhausting evening, I have compiled by Top 5 Halloween Films. 

NOTE: This list is in no particular order, and the entries are not all horror films. In an effort to be ecumenical, and to bring solace to those of all temperaments and dispositions, I’ve taken my criteria as films set on, or around, Halloween. I hope there is at least one offering here that might intrigue and delight you. 

5. The Crow 

A supernatural superhero flick which has gained cult status, this film kicks off the list in style. What style, you ask? The inimitable style of the 90s. Eric Draven and his fiancée are murdered on ‘Devil Night’ (also known as ‘Mischief Night’), on the eve of their Halloween wedding, leaving a distraught Sarah – the young girl they care for. One year later, Eric is resurrected by the spirit of the Crow, who shepherds souls to the afterlife, and resurrects those who die by evil and violence as undead warriors with a mission to find revenge and, perhaps…peace? Certainly not to begin with!  

This film is perfect Halloween fare for those who want the grit and vibe of the holiday without actually having to engage with real fear. The 90s was a decade of looking and sounding edgy without any commitment: the decade of bark, not bite. Brandon Lee (who died during filming in a prop accident – a star in the making, taken too soon) looks terrific as Eric Draven/The Crow, covered in black leather and face paint, excelling at fight and stunt choreography, and towing the line of camp perfectly. The setting is moody darkness and rain and neon, and gothic gargoyles! The music underpins the atmosphere superbly…I mean…the title track is by The Cure! It goes hell for leather in a deliciously pantomimesque fashion and is well worth a watch for spooky fun without the fear. 

4. Halloween II 

The unwanted sibling. The sequel that was never meant to happen. It is unclear to me quite what it was that forced John Carpenter and Debra Hill back to the writing room (perhaps the threat that this sequel would happen with or without them), but it certainly wasn’t passion for the project! Carpenter has described the writing process as one where he essentially had to be drunk to get through it. I must say, if this is the case, it doesn’t show! Halloween II picks up right where the original ends, Laurie Strode (Jamie Lee Curtis) is catatonic after surviving the Haddonfield Halloween night massacre and is immediately transported to hospital. The murderous Michael Myers has disappeared after being shot by his psychiatrist, Dr Loomis (Donald Pleasance returning with the most delightfully hammy performance…in fact with the whole back half of the pig), and now Loomis is back on the hunt. It is all leading to a blood-soaked showdown in Haddonfield Memorial Hospital, and the most contrived plot-twist in horror history; necessary, Carpenter says, for any of this forced sequel (to a perfectly conceived standalone film) to make sense. It isn’t a patch on its progenitor, but it is far better than it deserves to be, allows you to spend some more time with beloved characters, cranks everything up to 11, and is a guilty pleasure of mine – me, a man of taste and refinement, a connoisseur of the creepy, a gentleman in the gathering of the ghoulish. 

3. E.T. 

One for the kids now, especially for those children who find Halloween a bit too much. This is the film that proved Steven Spielberg isn’t just a good filmmaker – he is one of the finest ever to pick up a camera, able to master any story in any genre. E.T. is a small alien who is separated from his group on a routine mission to collect plant samples from Earth. He is taken in by a young boy, Elliot, and protected from the government agents trying to capture him. Over the coming days the two bond, developing an odd empathic link that gives Elliot confidence in school, and gives the two much joy and laughter at home. Soon it is time for E.T. to ‘phone home’ and return to his own planet. Naturally this escape attempt takes place on Halloween, so that the little gremlin-like creature can wear a bedsheet without attracting unwanted attention. After several near escapes form the law, E.T. and Elliot have a goodbye so emotional and poignant that I dare you to watch this with your little ones and not cry…go on…I DARE YOU! E.T. is everything a children’s story should be, and has everything it should have: aliens, coming-of-age shenanigans, clueless parents, a chase with levitating bicycles. It is perfect, and perfectly gentle for a Halloween wind down as a family.  

2. Batman Forever 

Now, I was thirteen when Batman Begins was released; a man of grey-hair and wrinkled visage by the standards of comic books. As a result, Christian Bale is not my Batman – the raspy voice just grates on me! Michael Keaton is my Batman, and is, to this day, the best Batman. However, none of the Keaton films have a Halloween setting as far as I’m aware, so I’m going to recommend the Val Kilmer take on the caped cruder. Kilmer is the billionaire bad-boy Bruce Wayne, a mask he wears to hide his true identity as the crime fighter Batman. Tommy Lee Jones is the once upstanding prosecutor Harvey Dent, who went mad after having acid thrown in his face, and has become the supervillain Two-Face. Jim Carrey plays Edward Nygma, a scientific genius who is researching a technology to send TV signals directly to the brain – research that Bruce Wayne shuts down due to its potential for mind control. Nygma takes on the guise of The Riddler, and he and Two-Face begin to commit a series of robberies to fund the research and, eventually, take down Batman. Their plan culminates on Halloween night, which might explain why no one questions maniacs in ridiculous costume running around Gotham City.  

If you think The Crow is camp (which it is) you haven’t seen anything yet. The gothic is more gothicky, the leather is more leathery, the neon will burn the eyes right out of your skull, and I’m not sure if you can get more 90s than a gurning Jim Carrey menacing Nicole Kidman while Val Kilmer smoulders in anger. If you can keep a secret…I know this film is rubbish, but it was the ‘latest’ Batman film as I was growing up, and I actually really like it, and it brings back so many memories of my childhood, excitedly sitting in front of the telly to watch the action for the fiftieth time. Highly recommended, for the sheer operatic silliness of the film alone – and what is Halloween for if not operatic silliness? 

1. Halloween 

Of course this was going to be on the list. This is THE Halloween film. This is so much a part of the cultural memory that I’m not sure I even need to give a plot synopsis or explain my recommendation. Instead, I could just list the people involved and leave it at that. John Carpenter writing (with Debra Hill), directing, doing the music, probably making the cast’s lunch and everything else! Jamie Lee Curtis in the lead, essentially creating the ‘final-girl’ trope of the slasher flick, and doing it so brilliantly that it has only ever been imitated but never topped. Donald Pleasance…is also there. I can’t quite describe his performance: is it a genius deconstruction of trope and cliché in a valiant attempt to understand the warring forces of light and darkness in the human heart, or is it the work of a man who missed the lunch Carpenter prepared and so has decided to devour the scenery instead? He is bonkers – and I’m here for it! 

Curtis is Laurie Strode, an innocent and virginal (vitally important in the mythos of what becomes the ‘final girl’) high schooler, who will be spending Halloween night babysitting Tommy Doyle while her friends do – ahem – what teenagers do. Honestly, they couldn’t have picked a worse time or place to engage in underaged drinking and pre-marital sex. Haddonfield on Halloween night in 1978 is essentially an abattoir for the morally flexible teen. Because…Michael Myers is on the prowl. Introduced at the start of the film (in a POV shot that has stood the test of time for its chill and shock factor!) as a six-year-old boy who inexplicably stabs his sister to death on Halloween. He is committed to an asylum under the care of Pleasance’s Dr Loomis. On Halloween night, 15 years later, he escapes. Loomis, who’s time with Michael has turned him into a different type of madman, is horrified and starts hunting Michael, accosting innocent children, and all the while screaming about ‘THE EVIL HAS ESCAPED’…he also wonders why the police don’t take him seriously. 

Michael stalks Laurie and her friends, picking them off one-by-one, until only Laurie is left to fight and survive. The film is perfectly taught and lean and coiled: the tension ratchets and ratchets and ratchets until you don’t think you can take anymore. What makes this one of the finest horror films, and my favourite one to watch on Halloween night itself, is its simplicity. Michael Myers has no explanation. Why he killed his sister, why he hunts Laurie, how he is so strong and fast and seemingly invulnerable. He simply is. He happens. He is a force of nature that has no discernible cause or motive. Sometimes evil is like this, and I find my annual viewing of Halloween a tremendous restorative – a reminder of an age when the horror movies didn’t spoon-feed you backstory and explanations…they just gave you damn-good scares! 

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