Hollow Projected Confidence No Substitute For Societies’ Self Discipline & Competent Realistic Governance

By Ron Cheong

News Americas, TORONTO, Canada, Weds. Jan. 14, 2026: The eye of the inclement local turbulent weather seems to have largely run it course and is sputtering and grasping at straws now.   And so this is a good time to revisit some ancient wisdom which describes what we have seen, the reasons underlying it and age old frailties that foster it. Democracy is built on freedom, equality and collective decision-making – yet again and again it often elevates leaders who are unprepared, incompetent, or dangerously unfit for governance.

This is not a new paradox. More than 2,400 years ago, Plato warned that democracy contains the seeds of its own decay, not because people are evil, but because human desire, left undisciplined, overwhelms judgment. What feels like a uniquely modern crisis – celebrity leaders, emotional politics, social-media outrage, and the triumph of confidence over competence – is in fact the fulfillment of a pattern Plato described with unsettling precision.

How Democracy Decays From Within

In ‘The Republic,’ Plato outlines democracy’s lifecycle. It begins nobly, animated by a passion for freedom and equality. Over time, however, freedom becomes excess. Restraint is dismissed as oppression, expertise as elitism, and discipline as weakness.

 Citizens increasingly value pleasure, impulse, and self-expression over responsibility and wisdom. In such a climate, the distinction between qualified leadership and theatrical confidence erodes. The masses, Plato argued, come to prefer those who entertain them, flatter their desires, and promise immediate gratification over those who understand the complexities of governance.

This is not corruption imposed from above; it is decay generated from within. When citizens lose their internal discipline – the ability to delay gratification, tolerate complexity, and submit to reasoned authority- democracy becomes vulnerable to manipulation. Politics turns emotional. Serious debate gives way to spectacle. Popularity replaces competence.

The Rise Of The Demagogue

Plato warned that democratic excess naturally gives rise to the demagogue: a figure who presents himself as the pure embodiment of the people’s will. He attacks institutions, experts, and rivals as enemies of “the people,” while offering simplistic solutions to complex problems. He promises everything and demands nothing – except loyalty.

The contemporary parallels are hard to ignore. In Guyana, where the self-promoted richest man in the country, openly lacking any knowledge of governance, captured 16 of the Official Opposition’s 29 seats in the last election by projecting confidence and making promises untethered from reality. His appeal was not policy or competence, but certainty – certainty that reflected his followers’ desires back to them.

In this case fortunately, wealth was not the Teflon coating he used it would be.  He overestimated his pull on voters – other realities and hard facts stepped in and pre-empted what Plato’s saw as the aspiring demagogue’s ultimate and most dangerous stage: when the demagogue convinces his followers that he alone can solve their problems.

Chaos As A Political Strategy

Plato’s insight goes further. The demagogue, he argued, does not reduce chaos – he intensifies it. Disorder becomes a tool. Constant crisis exhausts the public, erodes attention, and weakens the capacity for independent judgment. Over time, citizens become overwhelmed by complexity and contradiction. Freedom, once cherished, begins to feel like a burden.

It is at this point – when the electorate is emotionally drained and intellectually fatigued – that democracy quietly surrenders itself. The people do not lose their freedom by force; they give it away. They trade deliberation for devotion, criticism for loyalty, and shared responsibility for the comforting belief that someone else will carry the weight of decision-making.

Plato warned that once this transition occurs, followers become incapable of separating themselves from the leader, regardless of what he does. His failures are reinterpreted as virtues. His abuses become necessary evils. Opposition is no longer disagreement but betrayal.

Why the Crowd Clings

This is the most uncomfortable part of Plato’s argument: societies fail not simply because of bad leaders, but because citizens lose the internal discipline required for self-government. An electorate can be “uneducated” not in the formal sense, but in the deeper sense of being unwilling to think, question, and restrain its own desires. Leaders who promise instant solutions flourish precisely because they absolve followers of responsibility.

When people surrender judgment, they also surrender agency. At that stage, abandoning the leader would require confronting their own role in the chaos – a step many find psychologically unbearable. It becomes easier to cling than to reflect.

An Ancient Warning For A Digital Age

Social media, algorithmic amplification, and celebrity politics have not created this problem, but they have accelerated it. Emotional propaganda travels faster than reason. Popularity is measurable, instant, and monetized. Plato could not have imagined platforms or algorithms, but he understood human psychology well enough to predict the outcome: a politics optimized for desire rather than truth.

What truly holds a free society together, Plato believed, is not unlimited freedom but self-restraint-within individuals as much as within institutions. When that restraint erodes, democracy does not collapse in a dramatic coup. It dissolves quietly, willingly, and from within.

Plato’s warning feels uncomfortably modern because it is not about systems alone, but about we ourselves.

EDITOR’S NOTE: Ron Cheong, born in Guyana, is a community activist and dedicated volunteer with an extensive international background in banking. Now residing in Toronto, Canada, he is a fellow of the Institute of Canadian Bankers and holds a Bachelor of Science degree from the University of Toronto. His comments are his own and does not reflect those of News Americas or its parent company, ICN.

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Teyana Taylor Makes Golden Globe History As Second Caribbean-Rooted Black Winner

By NAN ET EDITOR

News Americas, LOS ANGELES, CA, Weds. Jan. 14, 2026: When Teyana Taylor accepted the Golden Globe for Best Supporting Actress on Jan. 11, 2026, she joined a very short and historic list. She became only the second Black actor of Caribbean heritage to win a Golden Globe, following the late Bahamian-roots film legend, Sidney Poitier. She also joined an elite group – just 1 of 17 Black actors overall to win a Golden Globe.

US actress Teyana Taylor, who also has Caribbean roots, poses in the press room with the Best Supporting Actress in a Motion Picture award for “One Battle After Another” during the 83rd annual Golden Globe Awards at the Beverly Hilton hotel in Beverly Hills, California, on January 11, 2026. (Photo by Etienne Laurent / AFP via Getty Images)

More than six decades after Poitier broke barriers in Hollywood, Taylor’s win marks a new chapter in Caribbean diaspora representation, connecting generations of Black excellence across film, culture, and geography. Yet, it’s a milestone that largely flew under the radar.

Born in Harlem to a Trinidadian father and an African American mother, Taylor has long embodied a layered cultural identity. While she was raised primarily by her mother in New York City, she has consistently acknowledged both sides of her heritage – an American upbringing shaped by Caribbean lineage, resilience, and influence.

A Caribbean Thread In A Harlem Story

Taylor’s father, Tito Smith, is Trinidadian, connecting her directly to the Caribbean and its diaspora that has shaped New York City for generations. Though she was raised by her mother, Nikki Taylor, in Harlem, that Caribbean lineage has always been part of her personal narrative, even if it has not been foregrounded in mainstream coverage.

In an industry where Caribbean identity is often flattened or overlooked, Taylor’s win stands out as a reminder that Caribbean influence extends far beyond music genres like reggae, soca, or dancehall – it is woven deeply into Black American cultural achievement across film, fashion, and performance.

The Woman Behind the Win

US singer actress Teyana Taylor’s roots extend to the Caribbean. Here she attends the Time100 Next gala at Chelsea Piers in New York City on October 30, 2025. (Photo by CHARLY TRIBALLEAU / AFP) (Photo by CHARLY TRIBALLEAU/AFP via Getty Images)

Much of Taylor’s grounding, she says, comes from her mother, who has served not only as her parent but also as her manager and stylist throughout her career. A former supermodel and television presenter, Taylor raised her daughter as a single mother in Harlem, fostering both creative freedom and discipline.

That mother-daughter partnership has been central to Teyana Taylor’s evolution from teenage dancer to award-winning actress. It is also a story that resonates strongly within Caribbean and diaspora households, where matriarchal strength often plays a defining role in shaping generational success.

From Music Prodigy to Film Powerhouse

Taylor’s rise has never followed a straight line. She entered the industry early – choreographing Beyoncé’s “Ring the Alarm” at just 15, dancing in Jay-Z’s “Blue Magic,” and later becoming a creative force within Kanye West’s artistic universe. Yet, for years, she was undervalued as a singer and boxed into narrow expectations.

Her pivot into film proved transformative.

Her breakout performance in ,A Thousand and One, earned critical acclaim, but it was her role as Perfidia in Paul Thomas Anderson’s ‘One Battle After Another,’ that redefined her public perception. Critics praised her portrayal for its emotional depth, vulnerability, and quiet intensity – qualities that stood in stark contrast to Hollywood’s usual framing of Black women as either hyper-strong or one-dimensional.

At the Golden Globes, Taylor used her acceptance speech to underscore that shift. “To my brown sisters and little brown girls watching tonight,” she said, “our softness is not a liability. Our depth is not too much. Our light does not need permission to shine.”

A Win Bigger Than One Actress

Taylor’s Golden Globe places her alongside a small, powerful group of Black winners that includes Poitier as well as Donald Glover, Halle Berry, Viola Davis, Denzel Washington, Regina King, Morgan Freeman, Mahershala Ali, Whoopi Goldberg, Jamie Foxx, Octavia Spencer, Eddie Murphy, Chadwick Boseman, Sterling K. Brown, Oprah Winfrey and Ryan Coogler.

What makes Taylor’s moment distinct is how it quietly expands that lineage to explicitly include the Caribbean diaspora – a community whose cultural contributions to global Black identity are immense, yet often uncredited in mainstream awards narratives. Her win also arrives at a time when Caribbean-descended artists are increasingly crossing boundaries between music, film, fashion and directing, refusing to be confined to a single lane.

Representation That Doesn’t Ask Permission

Teyana Taylor has never framed herself as a symbol – but symbolism followed her anyway. As a Harlem-born artist with Trinidadian roots, raised by a fiercely independent Black woman, Taylor represents a form of diaspora success that doesn’t rely on erasure or assimilation. Her Golden Globe is not just a personal triumph; it is a marker of visibility for Caribbean-descended talent operating at the highest levels of global entertainment.

In a room where history is often slow to change, her win quietly widened it. And for the Caribbean diaspora watching – from New York to Port of Spain to beyond – it was a reminder that sometimes, representation arrives not with a spotlight, but with a moment that makes history simply by existing.

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