Acharya Prashant explains that "Karma," or action, becomes a convenient armor to defend the actor, the "Karta" (doer). When discussing improvement, betterment, or the elevation of consciousness, the entire spiritual process refers to the ego, the self. This self is the actor, the one who does or acts. Therefore, everything we do must be targeted at the doer, because it is the doer who acts, enjoys, suffers, is happy or sad. The actor matters because we are the actor, not the action. The action is merely the actor manifested. Instead of focusing on the actor, people engage in a deep internal conspiracy by concerning themselves solely with the action—whether it is good or bad. This is a way to avoid looking at the actor. The speaker states that the actor not only suffers but also wants to continue suffering because the ego has a stake in its own suffering. The ego, as it is configured, survives only in suffering and disappears in joy. For its own existence, it wants to continue suffering. If the ego must suffer, it must not improve, as improvement would end suffering. To avoid improvement, it must not be available for diagnosis, so attention is shifted to something else, like action, to escape looking at the ego, the sufferer. This is the genesis of the book "Karma," which aims to demolish these misconceptions and put the focus back on the doer. The speaker uses an analogy where the wall is the actor and the paint is the action. We try to paint our hollow and diseased selves with good, pious actions, but this does not strengthen the wall. The fundamental ignorance and suffering of the doer stem from a lack of self-knowledge. If you do not know who you are, you cannot improve. If you cannot improve, there is no point in trying to change your actions, as their source remains the same. Once the actor is set right, the quality of action improves by itself. The desire to be sorted, to understand, and to be relaxed is the fundamental nature of consciousness, which is a priori and does not require a reason.