Hulu has Atlanta and it has like this new show The Bear. These shows are there art, you know, they are for a very specific taste. They can do that now and they couldn't before. And the economics have changed so that it still is all about keeping you watching as much as possible. So here's what I was thinking. Like you have this great, this really good TV that can be more particularized, tailor made to certain tastes. Some of it can be just really, really good in a way that television couldn't be beforelike a take artistic risks that you couldn't take in that time.
We dive into David Foster Wallace’s sprawling 1993 essay “E Unibus Pluram: Television and U.S. Fiction.” How do TV and new forms of media keep their hold on us when we know at some level that they’re reinforcing our loneliness and passivity? That’s easy, Wallace says, post-modern cool. Flatter me, let me think we’re all in the joke together, give me “an ironic permission-slip to do what I do best whenever I feel confused and guilty: assume, inside, a sort of fetal position, a pose of passive reception to comfort, escape, reassurance.” But in the years since this essay, the TV landscape has completely transformed. Has it transcended its function as a surrogate companion for lonely people, or has it just found new ways to keep us isolated and passive?
Plus, we talk about the recent new SPSP guidelines and Jon Haidt’s recent essay on why he’s resigning from the organization. (Sorry, Jon!)
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