With only occasional exceptions – someone like Clive Palmer – the working hypothesis of the gallery is that every political actor is rationally self-interested and transparent to themselves in their motives and desires. They could get away with this approach in the Hawke–Keating period, and, at a stretch, up to the end of the Howard period, when personality remained constrained by political forms, to a degree. But now we have a politics whose dominant figures have slipped their ideological moorings, and the interpretive gap shows keenly.