Anti-AI and pro-beauty, Leo XIV has proved an unlikely custodian of culture – and a patron of meaningful work in a world of algorithmic slop

So, who figured that Pope Leo XIV would end up being kind of cool? Not me. Although as a lapsed Catholic I had little stake in the conclave race, I felt that there was something unglamorous, dare I say godless, about a first-ever supreme pontiff born in the US, let alone one hailing from Chicago, the same city as Hugh Hefner, Hillary Clinton and Kanye West. There were greater apprehensions beyond taste, too. Would this finally be the ordination of the reinvigorated Maga movement after the death of the compassionate Pope Francis? When Leo appeared on the balcony of St Peter’s Basilica wearing the traditional red mozzetta cape eschewed by his predecessor, it was too easy to jump to conclusions.

By the grace of God, the red mozzetta was a red herring. Very quickly, American conservatives went into meltdown over the pope’s patent anti-Maga leanings and his empathy for migrants and marginalised groups – “anti-Trump, anti-Maga, pro-open borders and a total Marxist,” fumed far-right activist Laura Loomer. That alone has been a relief. But perhaps even more significantly, Leo has demonstrated the benefits an American bishop of Rome can have for the rest of us, Christian, Catholic or otherwise: that is through his exemplary cultural leadership, and close engagement with the arts.

Jason Okundaye is an assistant newsletter editor and writer at the Guardian. He edits The Long Wave newsletter and is the author of Revolutionary Acts: Love & Brotherhood in Black Gay Britain