No more heroines

Shirley Manson:

“[Debbie Harry and I] are some of the few women left who do what we do in the way that we do it. We’re getting rarer and rarer. I think people understand that this breed is dying.”

This is right for the wrong reason. There are no female rock stars right now, but that’s becasue there are no rock stars right now. Rock isn’t mainstream anymore. The garage-rock boom of the early ’00s died out, and that was it. All of the top-billed, headline-making music right now is either hip-hop, R&B, electronica, or spectacle pop. Hell, even country’s made a comeback. The only exceptions are legacy acts like Radiohead and minor celebrities like Jack White. Looking for a Shirley Manson figure in this context is like looking for water on Mars.

However, the notion that women who “write their own music and aren’t chasing pop success,” constitute a “thinning bloodline” is as horrendously wrong as anything can possibly be. It’s important to make this distinction because the progress of this half of the dynamic has been overwhelmingly positive. Female rock stars may be a dying breed, but female rockers are almost literally everywhere. We’re getting shockingly close to the point where women being in rock bands is fully normal behavior – it would honestly be difficult for me to avoid them were I trying. Even when I go to see a typical boy-punk band like Wavves1 it’s a near guarantee that there will be women writing songs and playing instruments in the openers. I’m the last person who’s ever going to argue that “things are okay,” but even an inveterate hater like me has to admit that this is a hell of a lot better than it used to be. If Bikini Kill were around today, they wouldn’t be getting alternately harassed and patronized. They would seem like a normal rock band with normal politics. Again, this is not to minimize any of the very real shit that’s still happening, but the fact is this battle has largely been won. Women playing rock music is normal now. Deal with it.

It’s still valid to ask whether we’re missing something by not having heroes, though, because heroes serve different functions than regular artists. Actually, it kind of seems like the functions heroes serve are the only ones that matter. That is, if you’re already into music or you’re reading radical theory or whatever, you don’t need a lot of help. You’re in a position where you can figure things out for yourself; you know where you can look for answers. The person who does need help is the proverbial queer kid in a small religious town – someone who’s too far away from the truth to be reached by conventional means. The value of heroes is that they have this kind of reach. If you’re in a position where you actually need to be saved, a hero is the only option.

The problem with this is that it’s a coincidence. If society were generally just, the people with reach would be the people whose touch matters. This is not the case. In fact, it’s worse than just being a coincidence. The actual situation is fairly chaotic, but as a general rule, it’s more accurate to say that we live in a society that suppresses things that are worthwhile and promotes things that are useless, and indeed often actively harmful. The people with the means to do the talking are usually those with the least to say. For every one Garbage screaming out the truth, there are ten Limp Bizkits stinking up the airwaves and hundreds more Bratmobiles languishing in the shadows.

Obviously, there’s nothing wrong with the fact that Garbage had a positive effect on people through being on MTV. I mean, I can vouch for this personally. Garbage was the only good band I liked before I liked music. And because I was a stupid kid back then, I never would have heard of them if they hadn’t been on MTV. They didn’t save me or anything, but I’d probably be worse off otherwise. They helped me, and they’ve helped millions of others even more. To the extent that they had to get popular in order to do this, their popularity was a good thing. But they didn’t get big because they had something worthwhile to say; if anything, they got big in spite of it. Which means that any “stardom” effect in play is ultimately just a matter of luck.

It’s important to draw a distinction here between popularity, the general concept describing a situation where lots of people like something, and fame, the specific thing that happens when popularity Ouroboroses itself. While they can occur together, they don’t have to, and the difference is not just a matter of numbers. Someone can have a large number of fans while remaining unknown outside that group and therefore not properly famous; this is what we refer to as a “cult following.” And we’re all familiar with the situation in which someone is famous without there being anything they’re actually known for doing; this can happen even when relatively few people are paying attention to them.

So what we can understand here is that fame is strictly bad: the specific thing it means is that lots of people are paying attention to you without caring about what you’re doing. Fame discriminates improperly. Bad things get famous just as easily as (or more easily than) good things, and fame occupies cultural breathing room that could otherwise be filled with more things that matter. There can’t be a good version of the Grammys; any awards show necessarily resolves itself into red carpet bullshit. Popularity, by contrast, is the enthusiasm without the awards. So it’s actually a good thing, but in the sense that heart surgery is a good thing. You don’t want it for its own sake, and if you can get along without it you’re probably better off. But in some situations it can help you do the thing that you actually want to do. I’d like to emphasize that this is neither an obscurantist nor an apologetic argument; things aren’t better or worse for being more or less popular. Being popular increases your chances of reaching people, but what’s important is the reaching, not the numbers. In fact, the problem with popularity is precisely that it leads to fame; it increases the chances that your bandwidth will start to get clogged up with people who don’t actually care.

The difference between a “rocker” and a “rock star” – and, more generally, the difference between an “artist” and a “hero” – is the difference between popularity and fame. Ergo, heroes are bad. This is kind of a hard point to focus on, because talking about “heroes” makes you think of your own heroes, who are obviously good, but it remains the case that the concept of heroes is bad, and the act of having heroes is bad. It’s natural to want to hype someone who does something that’s important to you, but promotion is different from idolization. You can’t idolize someone you actually know, because what idolization is is the filling in of the gaps you don’t know about with positive-valence generica. It’s taking one important thing and improperly extrapolating from it that someone is important in general, which no one actually is.

So, functionally, what hero worship does is not to shine a spotlight on worthwhile achievements. Worthwhile achievements are worthwhile on their own; they justify themselves simply by existing. That’s what it means for something to be worthwhile. Rather, what the spotlight of heroism brings into view is everything else, the things that don’t actually matter. Again, this seems harmless when the other things turn out to be good. It’s certainly nice that the person who happens to be Beyoncé happens to be a feminist, but that isn’t something you can rely on. In fact, people have made exactly this complaint about Taylor Swift: she’s supposedly “not political enough” and therefore not fulfilling her role as a hero. But the question isn’t why Taylor Swift isn’t political, the question is why do you care? Why do you have the expectation that someone who writes songs (or doesn’t) that go on the radio is going to share your personally favored political viewpoint? Are you not capable of making your own arguments? Do you really think progress can’t happen without the say-so of some rando pop star?

Worse, heroes generally “happen” to be more like, oh, I don’t know, Bill Cosby. The function of heroism is to make people like Cosby look good, and to make people like Dave Chappelle apologize for them. To be clear, Chappelle doesn’t deny Cosby’s rapism, but because he idolizes Cosby, he’s compelled to argue that it’s “not that simple,” and so he comes up with extenuating factors that aren’t actually true. And it isn’t just that Cosby doesn’t deserve the favor, it’s that it doesn’t matter. His work still exists on its own; whatever value it has is still there. And his crimes also exist on their own. The only reason to conflate2 them is if you feel some need to decide whether Cosby is a “good person” in general, which you shouldn’t, because “being a good person” is not a sensible concept when divorced from specific actions. Heroism attempts to square this circle, to draw bright lines of “good” and “bad”3 that paint over the actual facts on the ground.

There is a specifically feminist point to be made here. First of all, there’s a good reason why feminists are particularly susceptible to heroineism. One of the primary mechanics through which patriarchy operates is the casting of men as agents and women as assistants. Typically masculine roles are those such as the warrior, the lone genius, the statesman, or the explorer – people who do things, who are the source of their own achievements. Typically feminine roles are those such as the wife, the maid, the mother, or the muse – people who support or maintain things, who are factors in other people’s achievements.4 The way that these role-sets and their interactions work to promote male dominance is pretty straightforward. So the natural counter here is to point out situations in which women are undeniable creative forces in their own right. When you get wildly original artists like Patti Smith5 or Björk, women who can’t possibly be understood other than as self-possessed agents and originators, it is severely temping to turn them into heroes. Like, if Patti Smith gets inducted into the Rock and Roll Hall of Fame, then that’s real official proof that women are just as good as men, right?

The problem with this is that exceptions, as a rule, don’t disprove rules. You can just as well interpret the same situation the other way around: women have to be exceptional in order to qualify as creators. There’s nothing stopping anyone from recognizing the achievements of some particular handful of women and then remaining sexist about everything else. That’s exactly how it’s been throughout literally all of history, because there are always, in any context, going to be people who are exceptional in one way or another. You’re always going to see the occasional Queen Elizabeth, Commander Artemisia, or Hypatia of Alexandria – as well as the occasional Margaret Thatcher, Aileen Wuornos, or Leni Riefenstahl. By the same token, though, the overwhelming majority of women are just going to be normal people with normally-valuable abilities. We don’t need more exceptions; we need to start valuing ordinary women, to remove the requirement of exceptionality. Treating a tiny selection of women like superhumans (/”queens”/”goddesses”) does not absolve us of not treating normal women like normal humans. Women having to be exceptional in order to be considered on par with men is the exact thing that sexism is. The measure of progress in music, then, is not whether we have female superstars. That’s always been the case. It’s whether people of average talent and ordinary appeal are being given their fair shake. The glass ceiling that matters is not the highest one, but the lowest.

In short, it’s a trap. Idolization is how patriarchy handles the unavoidable existence of exceptional women while maintaining existing sexist structures. A social system that didn’t account for exceptions would be brittle; it would crack under pressure. The systems that become pervasive are the ones that are flexible, that can adapt themselves to whatever the conditions on the ground happen to be, that resolve problematic happenstances. They’re the ones that cause you to take a genuine feminist influence like Shirley Manson, call her a “grunge goddess” (which is an oxymoron all by itself), and portray her and a bunch of other important female creators as generic representatives of something called “women in rock.”

As you’ll recall, though, the catch is that heroism serves valuable functions, so the real question is: can we make do without it? Even if the concept sucks, it might act as a Wittgensteinian Ladder: we might need it now because things are fucked, even though we’re going to want to throw it away later. While I can’t speak for the past, I submit that, even if this is the case, the time has come. Instead of inflating heroes to shadow over everything, it is within our power to make smaller, more direct connections, where they’re needed.

Obviously, the internet is a big deal here. I’m sure I don’t have to explain the effect it’s had on music distribution. But this isn’t a technological problem. After all, the internet has had just as strong of an effect in the opposite direction. The vast majority of people use the internet to pay more attention to the things that are already the most popular.6 This has nothing to do with the technology itself; the problem is what people want. If you’re trying to connect things with the people who need them, you can find some way to do that at any level of technology. Back in the day there were things like zines and mail-order catalogs and good old fashioned word of mouth. The internet is potentially a huge help – rather, it has been, and it can be an even bigger help – but it can’t help you do anything until you want to do it.

The fundamental problem is that people want heroes. They prefer stars shining from afar to real people existing unglamorously in front of them.7 They aren’t comfortable valuing things on their own; they want to be told that the things they care about are “really” important, that they’re “right” to care. They want to outsource their humanity to someone else. But this can only ever be a lie, because importance comes from the personal interactions you have with something. Other people can acknowledge that those interactions happened, but they only ever belong to you. It’s simply factual to say that Garbage has had a strong influence on a lot of people, but that doesn’t merely add up to “stardom”; each influence retains its individual content, content that can’t simply be exchanged with that of any other equivalent “star,” precisely as those influenced by Garbage describe:

Screaming Females’ guitarist Marissa Paternoster, whose band went on tour with Garbage in 2013, agreed. “Shirley was the most honest in her darkness. Gwen Stefani was a great inspiration for me but she didn’t have that sharp edge that I was looking for. That’s what attracted me to Garbage: Shirley’s transparency and vulnerability.”

What’s really important is not just that this suffices, but that it’s better. I can also vouch for this personally, because, as ideologically disinclined as I am to admit this, I actually was saved. It’s really none of your fucking business, but the important thing is that I wasn’t saved by a hero; I was saved by a person. In my case, this was also luck, but it didn’t have to be. This is the part that’s fixable. It’s not fixable by finding the “right” heroes; it’s fixable by ceasing to lean on the crutch. As soon as you start caring about popularity, as soon as you go looking for “heroes,” you’re putting your finger on the scale and fucking up the balance. But even when something worthwhile gets famous – rather, when it gets popular, because fame is the part of popularity that isn’t justified – we can’t simply accept that as a fortunate coincidence. We have to move away from fame and towards meaning; we have to topple the statue in order to free the spirit inside. This is what it means to kill yr idols.

When I see a fancy photo shoot in a magazine, that makes me feel like whatever’s being talked about has nothing to do with me, like it’s taking place on another planet. When I see someone five feet in front of me plugging in a guitar and tuning up, that makes me feel like I can do things, like it’s possible for me to exist in this world. Maybe that’s just me, but I don’t think it is. Even when people engage in hero-worship, they aren’t really responding to the lights and the dresses. If they were, heroes would be completely interchangeable. But it’s the opposite: people cling only to their heroes, because they’ve found something specific there that has mattered to them. People like glitz because it makes the things they care about seem more important, more “real.” But this is mere reassurance, and it’s false reassurance. It’s cowardice, and we should be brave enough to reject it. We should accept the smallness of the truth. Shirley Manson is not a representative of some kind of general “women in music” category; she is a musician, which is better.8 There are specific things that people found in Garbage’s music and kept with them, and that’s the only thing that matters. The rest ought to be silence. Correspondingly, the answer to the question “who is there for little girls to look up to now?” is everyone. We just have to show them where to look.

This is, of course, a more challenging pursuit. It’s not as easy as getting a couple of good videos on MTV. You have to explore, you have to focus, you have to figure out how to get the right things to the right people. The task is harder now; it’s a little more involved. It requires more of us as individuals. We have to think more personally about the things that are important to us, and also think more broadly about how our actions contribute to creating the kind of world we’re going to have to live in. This is called “progress.” It gets us closer to, one day, maybe, getting things right. And what’s important to remember that progress isn’t natural. It’ll be just as easy to fuck this up, to go back to looking for heroes, create a new circumscribed, media-friendly class of “female rock stars,” and re-erect the wall that so much effort has been put into tearing down. I’m really not interested in letting this happen.

It is better to be a person than to be a hero. Even accounting for the fact that some people are going to accomplish a lot more than others, everyone can be valued for their contributions without anyone being turned to stone and stuck on a pedestal. (Recall the feminist insight that putting someone on a pedestal is a means of preventing them from moving.) This is also a more accurate depiction of reality; it prevents us from being bamboozled by people like Cosby. The real world is not narrow, and no one bestrides it like a Colossus. In truth, no one is any larger than life – or any smaller. Everyone is exactly the same size as life.

 


  1. Not that there’s anything wrong with that. Actually, credit where it’s due: when I saw them recently Nathan Williams made a pretty serious comment about not groping the female crowdsurfers, so a lot of men have actually been doing a decent job of getting on the ball here. 
  2. Note that conflation is different from reassessing in the light of new evidence. But if you find something new as a result of this, it will be something that was there all along. 
  3. Villainy is the same thing as heroism, just in the opposite direction. 
  4. Note that the role of the “father” is primarily understood as a provider and a rule-maker, so it’s still a “doer” role. Similarly, female artists are often understood as mystics or “conduits of the spirits” or whatever, which recasts their creativity as passive midwifery of an external, agentive force. Consider further such dichotomies as doctor/nurse, playboy/slut, priest/nun, etc. It’s pretty much everywhere. Also, this goes all the way down to the level of basic biology. People used to have the idea that a sperm was an entire fully-formed person and the womb was basically just a big empty hole where it hung out and grew on its own. 
  5. Patti Smith is a fascinatingly ironic example here, like there’s seriously a book to be written about this, as she is herself an unabashed hero-worshipper with some pretty traditionally sexist ideas about men being creative geniuses and women being muses. As recounted in Just Kids, she originally tried to get Sam Shepard to save rock and roll before reluctantly accepting the fact that she was going to have to do it herself. 
  6. Note that the huge amount of social media noise during the 2016 election, which supposedly destroyed all sources of authority and turned politics into a mess of untethered subjectivity, did not make third parties any more viable, or indeed do anything at all to broaden the scope of debate beyond the usual popularity-contest bullshit – which is exactly how the person whose only ability is competing in popularity contests won. In fact, social media increased this effect: the election might otherwise not have been enough of a popularity contest to make the difference. 
  7. Believe it or not, Adam Smith has a pretty good bit about this: “This disposition to admire, and almost to worship, the rich and the powerful, and to despise, or, at least, to neglect persons of poor and mean condition, though necessary both to establish and to maintain the distinction of ranks and the order of society, is, at the same time, the great and most universal cause of the corruption of our moral sentiments. That wealth and greatness are often regarded with the respect and admiration which are due only to wisdom and virtue; and that the contempt, of which vice and folly are the only proper objects, is often most unjustly bestowed upon poverty and weakness, has been the complaint of moralists in all ages.” 
  8. Just in case it’s not clear, I’m very much not saying that gender doesn’t matter. It matters the same way everything else does. Being a feminist means neither reifying nor ignoring gender; it means accepting it as a subject of serious study. 

We pay to play the human way

On May 22, 2017, a suicide bomber attacked the foyer of the Manchester Arena in England at the end of a concert. 23 people were killed and 116 were injured. These deaths are “appalling” and “sickening” and “barbaric” and “horrific.” Meanwhile, on that same day, worldwide, approximately 3,425 people died from road accidents, 22,466 people died from cancer, 3,014 people died from AIDS, 8,640 people died from starvation, and 2,192 people died from suicide. These deaths are not appalling or barbaric or sickening or horrifying. They’re fine.

Tabulating statistics is a good way to get yourself labelled a robot or an asshole or a robot asshole, but seriously: why are deaths from terrorism more important than other deaths? Are people who die from “ordinary” causes any less dead? Are their deaths any more justified? Do their friends and family suffer any less? Are those other things even any less scary? Is it really more terrifying to think that you might be killed by someone who hates you just because of who you are than to think that you might be killed for no reason at all?

Obviously, everyone’s going to have their own emotional reactions, and there’s very little point in judging people for how they express themselves, but that’s still the same question: why do we care more about terrorism deaths? Why is our instinctive emotional reaction here to grieve publicly and demand that Something Must Be Done, and why is this not our reaction to the rest of this blood-strewn hellscape we’ve been cursed to inhabit? It’s not because terrorism is some sort of “extra” evil that doesn’t “normally” exist in the world. As long as people have conflicting desires and are killable, murder happens. That’s the cost of being human in the first place. We conceive of terrorism as special because we view it not as random death, but as an attack on “us,” and for that reason, we get scared. This is entirely unjustified. The sorrow of this event belongs to the people who were personally affected by it and to no one else. We are not being “compassionate” by proclaiming our own grief. We’re doing the opposite. We’re fetishizing our immediate subjective reactions, imposing a narrative of generic drama, and eliding the real human reality of the situation. We are devaluing real kindness.

Worse, by doing this, we are not opposing the attack, but conspiring in it. We are fulfilling our role in ISIS’s plan. The point of dramatic attacks like this is not to kill people. It’s to make us feel personally threatened, and to make Muslims feel like our personal enemies. It’s to make this made-up “war of civilizations” fantasy feel like a real thing, and to make us assign outsized importance to it. By itself, ISIS is only capable of killing tiny numbers of people, one sad little bomb at a time. It is only with our active support that they are able to terrorize millions.

But, guilty though we may be, we’re no match for the experts. Every time a politician opens their filthy mouth and pollutes the air around these tragedies, the world becomes a more disgusting place. It is now de rigueur for politicians to compete amongst themselves over who has the biggest and most raging hard-on for skull-fucking terrorist corpses. More to the point, the politically mandatory response to these attacks is to do the attackers’ job for them. The fact that ISIS “claimed responsibility” for the attack doesn’t change anything about the event itself. What happened and who died are all the same either way. (Also ISIS “claims responsibility” every time a dog shits on a Western sidewalk.) Rather, the claiming of responsibility is itself a political act. It is the act of declaring war, of telling you which deaths to focus on and how to feel about them, of forcing one particular understanding of the world onto you. And when Western newspapers print up their headlines making the same claim, and politicians declare Terror Threat Level Burgundy Omega Five, they are taking the same action. They are telling you to be afraid. What we should expect from politicians here is not sympathy or respect or what the fuck ever. It is professional decorum, which in cases like this means keeping their fucking mouths shut. Even if this stuff weren’t directly their fault, even if they weren’t themselves mass murderers, they still have no right to care. They’re fine, and they’re going to be fine. We’re the ones who have to live with their decisions.

Which is of course the point. By appropriating tragedies like this, politicians redraw the battle lines. They point out “those people” as our enemies in order to portray themselves as our allies. They’re lying, and we know this because we can run the numbers. If they were really looking out for us, if they really cared about our lives, they would not be spending billions of dollars on the military and intelligence agencies and a burgeoning police state for the sake of slightly ameliorating a statistically insignificant threat. They would be spending it on fixing the things that are actually killing people, right now, in numbers far greater than any bomb-toting jackass could ever dream of. In order to make these things sound scary, people always like to say that every attack is the deadliest of whatever type since whenever – in this case it’s the deadliest bombing in England since 2005. This sounds dramatic, but what this statistic actually demonstrates is the opposite. It emphasizes the fact that these things almost never happen, that preventing terrorism is among the lowest possible moral priorities of modern society. Numbers don’t signify a lack of compassion here. They signify the truth. It was Dwight Eisenhower who said that every bomb dropped and missile fired directly represents food stolen from the hungry and medicine stolen from the sick, and he was right.

Unfortunately, this is still our fault. Politicians aren’t demons, preparing secret rituals to summon beasts and rain fire on the world. They’re lizards. They find the warmest rock in the near vicinity and they plop themselves down on it. They’ve chosen the terror rock because we’ve kept it warm for them. They are able to blackmail us only to the extent that we convince ourselves we can be saved. The mechanism by which we do this is sympathy. We imagine that there is such a thing as “people like us,” that we’re the “good guys,” and that we “deserve” to be safe. We do not share in people’s suffering for their sake; we appropriate it for our own. People who complain about the “us vs. them” effect usually focus on the “them” part, but it’s the “us” that’s really dangerous. The function of public grieving is to create an “us.” An eight-year old Arab girl killed by a U.S. military action is not “us.” It’s a real shame she had to die, but we’re not actually going to do anything about it. An eight-year-old British girl killed by a terrorist attack is “us.” If we have to keep killing eight-year-old Arab girls in order to prevent that from happening, well, that’s just the cost of doing business.

It is of course impossible to bring this up in the American political context without addressing the attack on the World Trade Center. Even a catastrophe on that scale belongs to the people who were directly affected by it and not to the rest of us. When we say that “everything changed,” we are saying that some deaths count and some deaths don’t – that some victims are real people and some are not.1 This dynamic is easy to understand when actual ghouls like Giuliani use it to jack themselves off, but the rest of us aren’t really any better. We do not have the right to grieve for those people. We have the obligation to do the motherfucking arithmetic.

AIDS is the perfect example. People tried to compartmentalize it away, imagining that it only happened to junkies and degenerates, but eventually they realized it could happen to anybody, and only then, only when rich white people started to feel personally threatened (or, if you prefer, when the activism around the issue was successful enough to garner general sympathy for the existing victims, but that’s the same problem), did they start taking it seriously. This is what happens when you make sympathy a prerequisite for action. People die preventable deaths. What should have been done in the first place, instead of trying to sympathize, was to run the numbers. We should have looked at how many people were dying and spent that much money on the problem. That is the only justifiable political response. Note, for example, that every time a terrorist attack happens, the blood banks always have to put out a statement saying that they’re full up and everybody can calm down. People rush into frenzied action when something sympathetic happens, and they sit on their hands the rest of the time. Resource misallocation kills.

This is also why cancelling concerts in the wake of the attack was objectively the wrong thing to do. If Ariana Grande or whoever else couldn’t personally handle it, then sure, they’re only human, but it’s still wrong. The attack didn’t change anything. People could have died driving to the venue, or there could have been a fire,2 or any number of other things more likely than a terrorist attack could have happened. Cancelling events only serves to reinforce the narrative that this is more important than everything else that’s happening, that these deaths matter more than others. It is not just “okay” to enjoy your life in the face of tragedy, it is the right thing to do. It’s how ISIS loses, and it’s also how our own ruling class loses. If you’re going to get sad and broken down every time something bad happens, you are either sad and broken down 100% of the time, or you are a liar. You risk your life every time you go out your door, and you also risk your life every time you stay home. The cliche that “the show must go on” is deeper than it sounds.

The one sort of tolerable thing about death is that it’s just death. It removes a single unique human from existence and it doesn’t do anything else. How we feel about it, what significance we choose to impart to it, and which actions we choose to take in response to it all remain in the realm of the living. The dead have no claim on us and no power to compel us; transitively, we have no further ability to hurt them. Everything remains, as it always is, up to us.

Meaning this is on you. None of us chose to play this game, but the chips are on the table. So, assuming you’re not going to fold, you have to accept the hand you’ve been dealt. If you try to pretend like there’s any other solution here, you are going to get hustled.

 


  1. In the spirit of intellectual honesty and/or killing one’s idols, there’s a relatively godawful Sleater-Kinney song that is specifically about not being personally affected by 9/11, but being scared of it anyway just because you’re a cute white person with a cute white baby. Not that a song is a political platform or anything, but it’s an expression of exactly the reaction that ought to be avoided. 
  2. This in fact happened recently. The Oakland Ghost Ship fire killed 36 people. Fire safety codes are more important than counterterrorism. 

Bubble babble

I’m entirely certain you’re well-acquainted with the idea that “media bubbles” are a big problem right now, effecting disinformation and perverting ideology and generally destroying society in an orgy of postmodern technological mediation. Certainly, there is cause for concern; unlike in the past, when everyone had complete correct information that they used to make fully rational decisions, nowadays humans have somehow become closed-minded and parochial. The figure of the barely-informed loudmouth shouting his kneejerk opinions into the public square represents a truly new development in history. And now that bad things are happening in politics, which has never been the case before, it’s clear that something must have gone horribly wrong.

No, okay, so I’m super annoyed about all the hyperventilation, there’s nothing more obnoxious than small-minded arguments against small-mindedness, but there’s also a real issue here. The internet certainly is generating a world-historical amount of garbage data, and political polarization really has increased to an extreme degree. The fundamental dynamic at issue here is what pretentious people like to call “epistemic closure.” When one’s sources of information or methods for evaluating it are limited in some fundamental way, certain areas of knowledge become inaccessible – or, worse, only accessible in the wrong way, such that the formation of inaccurate ideas comes to be considered true knowledge. Fox News will never give a sympathetic hearing to an idea like universal single-payer health care, so if that’s where all your information comes from, you can never develop an informed opinion on this topic. It’s important to realize that this is an absolute constraint; it’s not that it becomes harder to get to the truth, it’s that it becomes impossible. This is the double-edge of the Enlightenment ideal: since there’s no such thing as divine wisdom or whatever, you cannot form correct ideas without accurate and comprehensive information, regardless of how smart or conscientious or committed you are.

Now, one of the few positive results of the 2016 election is that no one is any longer laboring under the delusion that there’s any kind of “unbiased” source that can be relied on for complete information. “Traditional” news sources simply represent one particular set of biases. There’s plenty of issues on which they’re incapable of informing you. Most obviously, an enforced centrist perspective will fail to understand a situation where the “center” is falling apart and all new growth is happening on the “extremes” (that is, it will understand the situation incorrectly, as a “breakdown of communication” or a “legitimacy crisis” or whatever). So the popular response to this is the idea of a “balanced media diet.” The worry is that the internet allows and/or forces people to self-sort into ever more polarized communities, so you have to make the effort to seek out sources that oppose your existing beliefs. The villains then become “algorithms” that deliver pre-polarized information, or “cult-like” communities that suppress dissent.

Unfortunately, it’s not that simple. The most important source of epistemic closure is our finitude as physical beings. Simply put, there are only so many hours each day you can spend reading shit, so it’s more than a little odd to argue that people should be spending more of said hours reading things they believe to be more wrong. If you could really read everything, and also spend the requisite time to analyze and distill it all, then sure, that would solve the problem. In reality, though, you have to choose what you’re going to care about, and any choice you make is going to define a particular horizon. If you’re a feminist, for example, you could spend half of your time reading feminist sources and the other half reading anti-feminist sources, and this would give you a “balanced” perspective, in the sense that you’d understand what’s going on on both sides. But this understanding will necessarily be shallower than the one you’d get by focusing your time on one side; you’ll miss deeper arguments and distinctions and internal diversity. For one thing, you might come to believe that there are only “two sides,” which is not the case. Anyone who knows a second thing about feminism knows that its herstory is coated with blood spilled by many thousands of vicious internal disagreements. One way to get over feminist dogmatism is to read more anti-feminism, but an equally effective option is to read more feminism. There isn’t one choice that “works” and one choice that doesn’t. There are different choices that have different effects. Some bubbles are bigger than others, but you can’t not be in a bubble.

This is why blaming the internet or “algorithms” or whatever misses the mark. Like, I don’t enjoy defending tech assholes, but they really just aren’t relevant to this situation. There is a sort of consumer rights issue here; people should be able to find out how their feeds and things are being customized and change them if they want to. But arguing that search results should be more “responsible” is arguing the opposite: it’s arguing for non-transparent corporations to have more control over what people read. I mean, it’s pretty obvious that most people talking about this are only thinking things through from their side. They see lots of “bad” articles floating around, and they feel like “someone should do something,” so they imagine that Google can somehow code social responsibility for them. Practically speaking, though, you can’t make that kind of a distinction in general.1 “Misinformation” is a value judgment made by the end user. If you write an algorithm that adds more articles about global warming to the feeds of denialists, that same algorithm will necessarily also add more denialist articles to the feeds of people who believe in global warming. You can’t have it both ways. Rather, trying to have it both ways is exactly how things get fucked up. Someone at the New York Times gets it into their head that they have a “liberal bias” that needs to be corrected, so they hire an Islamophobic global warming denialist to write opinion columns. Problem solved.

People want to read things that accord with their beliefs, and – this is the important part – they have good reasons for doing so. The reason feminists, for example, disprefer reading misogynist diatribes isn’t because they’re offended or whatever, it’s because they believe feminism to be true, and they’re obviously more interested in reading things that are probably true than things that are probably false.

You don’t just automatically start understanding things once you’ve read broadly enough. You have to process the information, and how you do that – and why you’re doing it – is going to affect what conclusions you end up with. Like, there is a problem with certain types of feminists spending all of their time yelling at Bad Things and not actually developing their ideas. But if you’re one of these people, and you decide to “broaden your media diet,” all that’s going to happen is that you’re going to find more things to yell at. It’s going to strengthen your existing biases, and that’s going to happen regardless of what it is that you’re reading, and the reason for this is because it’s what you want. This isn’t even a bad thing, because the only way this is not the case is if you lack the ability to critically analyze information, which is, um, a somewhat worse situation to be in. If your goal is just to avoid being wrong, then you might as well not read anything. But if your reason for reading things and drawing conclusions is to do something with the information, then you can’t just wait around until you’re “sure,” because that’s never. In order to actually get somewhere, you have to take a stand somewhere and start moving, which will necessitate rejecting opposing ideas. Breathing underwater requires a bubble.

I’m not just applying this to my own side, either. The fact that people believe all kinds of weird conspiracy theories about the Clintons makes perfect sense, because the Clintons really are classic amoral political schemers, so if you’re opposed to them, it’s more accurate than not to assume that they’re up to some shady shit. Besides, liberals believe whatever nonsense people come up with about Trump, too. It’s the same thing. This is the normal way human communication works.

It does remain the case that the normal way human communication works is badly, and that real lies have real consequences. If you believe that Planned Parenthood is literally dismembering infants and selling their body parts to, uh, somebody (I’m not deep enough into this to know whence the nationwide demand for baby torsos supposedly originates), your advocacy on the subject is going to be somewhat more zealous. But learning the actual fact that only X% of Planned Parenthood’s expenditures go towards abortion-related services doesn’t change the moral calculus of the situation. If abortion is evil, then a little bit of it is still evil. It’s certainly worthwhile to correct lies, but you can’t fact-check your way around morality. If abortion is actually moral, then Planned Parenthood’s particular operating details don’t matter. An organization that spent 100% of its funds on abortion and sold the remains for ice cream money would be a moral organization. Focusing on the nuts and bolts here means dodging the real issue, and this is generally the case in political discussions. Even if Clinton really did use her secret email server to help the Illuminati plan Benghazi, the actual question at hand remains which policies we prefer to advance as a society. In general, misinformation does not add a unique problem to our existing difficulties in figuring out how to talk to each other. It makes things worse, but it’s not itself a crisis.

What is a crisis is when these sorts of discussions become impossible, when an enforced “healthy diet” drains the flavor from the world. When you’re stuck reading nothing but “respectable” media sources, that’s when you have a real problem, and extremism is the solution to that problem. It’s what makes new things possible. Which means that, yes, even the recent explosive growth of rightist extremism has to be understood as a positive development. InfoWars may be maximally false, but if you don’t have InfoWars, you also don’t have the truth. The fact that people have these beliefs is a bad thing, of course, but given that they do, it’s better for them to be out in the open. I mean, their agenda hasn’t actually changed, right? Reagan talked pretty on the TV, but his whole cut-services-and-fellate-corporations deal was exactly the same thing as what the current government’s up to right now. People lately have been praising Bush Jr. for talking nice about Islam, but he was doing this at the same time that his administration was turning Muslims into America’s new Great Civilizational Enemy; Trump is just picking up where he left off. Those situations were worse than the one we’re in now – rather, those situations are why we’re now in our current situation – because there was more obfuscatory rhetoric that had to be disentangled before you could get at what was really going on. This is now less of a problem; we’re getting closer to the point where people actually know what the stakes are.

It’s comforting to imagine that there’s a “middle ground” where we can all get along peaceably, but there’s not. Extremism doesn’t create disagreements, it reveals the disagreements that were already there, because people have real disagreements. Pretending this is not the case prevents anything worthwhile from ever happening. We don’t want a society where there’s “reasonable debate” about sexism, where half the time the Hyde Amendment is in place and half the time it isn’t. We want a society where sexism doesn’t exist. We want everyone trapped inside the feminism bubble, permanently.

This is the truth that must be acknowledged. All the things that people are so concerned about these days – political polarization, ideological extremism, the speed and diversity of information, the dethronement of traditionally respected sources of various kinds of authority – are the things that are, in spite of everything, going well. There’s no way to “fix” this, because it’s not broken. What was broken was the “end of history” bullshit that convinced people there were no fights left to be had, and that situation is now better. We are more confused now because we are closer to the truth – we have, in at least some sense, stopped lying. This is what has to happen. Getting the ocean without the roar of its many waters is not a real option. The real options are: retreat or advance.

 


  1. From a technical perspective, the reason this can’t work is that you have to write the code before you know what data it’s going to be run against, so you would have to be able to predict what information is going to be true or false before that information has actually been generated, meaning you can’t rely on the details of the information itself, meaning you can’t actually be making a real judgment as to whether it’s “disinformation” or not; you can only be relying on contextual coincidence. And if you try to get around this by using human intervention, all you’ve done is appointed an arbitrary, unaccountable person to act as an arbiter of truth, which is obviously several steps backwards. 

At 100%

Today in bizarre internet documents: this Final Fantasy VIII guide. I . . . okay, look, I could give you the whole backstory here, but we’ve both got things to do today, right? How about you just trust me on this one?

I’ll try to keep this concise. In FFVIII, one of your party members has a dog, named Angelo, and the dog can learn an ability called Angelo Search, which allows it to sniff around and root up items while you’re busy fighting alien turtle monsters or whatever. The ability is entirely passive – you can’t trigger it yourself, it just occurs at random times while you’re in battle – and the items you’ll receive therefrom are almost uniformly generic garbage. So for well over 99% of playthroughs, it’s entirely worthless. The game would be substantively identical if it didn’t exist. The plot twist is the word “almost” a couple of sentences back. It turns out the ability has a very, very small chance of giving you some of the game’s rarest items, including some that cannot be acquired in any other way.

This doesn’t make it matter, yet. The chances of it actually happening are so low as to be beneath notice. But it makes it so it can be made to matter. Because the ability triggers on its own, the one thing that one can do about it is wait. You can set up a battle so that the enemies aren’t doing anything that’s going to kill you (the battles transpire in real time, so enemies will constantly attack you while you’re just sitting there), and then you just leave it. You leave the game running, on its own, for hours and hours on end, such that by the time you get back, the probability of your having obtained one or more super-rare items has been upgraded from “lol” to “noticeable.” Indeed, thanks to the magic of probability1, if you just keep doing this, the likelihood that you will eventually obtain the maximum possible number of every item available in this manner ascends to a near guarantee. So what presents itself at this point, with terrible clarity, is a goal: you can use this approach to get not merely something, but everything. The guide in question is a series of instructions as to how to accomplish this.

Meaning it’s a series of instructions as to how to avoid playing the game. Perhaps this strikes you as unproblematic. I mean, it’s at least kind of interesting. Actually going through with this would require commitment, in a sense. And it’s not really any different than anything else you can do in a video game, right? Well, yes and no. It certainly is the case that all actions in a game are fundamentally arbitrary, but that doesn’t make them all equivalent. That is, we can imagine Sisyphus happy, but that doesn’t mean we should just go ahead and assume it a priori. If we care about this type of thing for . . . whatever reason . . . then we should take a closer look at what’s actually going on.

What’s actually going on is nothing. You could achieve exactly the same result by hacking the memory file and inserting the right bit values wherever the item count is stored. You wouldn’t be missing out on the “experience” because there is no experience. The end state, including your own end state as a person, would be physically indistinguishable from if you had done it “for real,” which of course logically implies that there is no “for real.” And yet, the whole thing nonetheless involves expenditure of real time and consumption of real resources. The guide in fact indicates that someone damaged their PlayStation – an actual physically-existing object that costs hundreds of dollars and represents years of engineering labor and performs functions in the real world – in the service of running a continuous Angelo Search session – which, recall, means doing nothing – for as long as possible.

So we’re already in “what’s the point?” territory, but the rabbit hole goes deeper. What you get from doing this is also nothing. It is important to understand this claim substantively. That is, if you could use this method to get items that helped you out later in the game, then, well, it would still be really stupid, but it would also be justifiable. After all, having to do stupid things for a while so that you can do non-stupid things later is an important part of real life. But that’s not what’s going on here. One of the items you can get via this method is the Hungry Cookpot, an item so rare that only one of it can be obtained otherwise. This item allows your characters to learn an ability called Devour, which they can be use to permanently enhance their attributes by eating monsters.2 The thing about this is, you get one instance of the ability anyway, without even getting the one Hungry Cookpot you can get, and that instance is all you’ll ever need (you can swap it between characters at any time). The ability has no combat merit, and, um, only one character can eat a given monster at a time3, so even if you’re going to the extreme of maxing out all of everyone’s attributes, additional copies of the ability are entirely unhelpful. They literally do nothing, in an absolute sense. So why does anyone ever bother with this sort of thing? I believe, if you search deep within yourself, you will find that you already know the answer. It is not in pursuit of a goal, it is the goal. The point of collecting as many Hungry Cookpots as possible is to collect as many Hungry Cookpots as possible. You’ll note that the language used in the guide excitedly hypes the possibility of obtaining a bunch of stuff without any explanation as to what it is you would supposedly need these things for. What really clicks the gears into place is the fact that there is such a thing as “as many Hungry Cookpots as possible.” There’s a maximum number of each item that the game allows you to hold, which makes it possible to attain that maximum. When you open your inventory menu and see the number “100” displayed, you will at last know true inner peace.

This situation is not unique to this one game – FFVIII just provides an unusually direct example, on account of it’s weird as shit. What we are discussing here is, in fact, A Thing. The idea of a “perfect game” is something that many players explicitly pursue, in explicit terms. I could go on at some length about this, but I can much more easily illustrate the situation using a real example that someone actually wrote out and committed to the internet. The following block of text originates from a “perfect game” guide for Final Fantasy VII, and is among the most remarkable objects ever brought into existence through descent with modification. Don’t worry about trying to figure out what the hell any of this means, because it doesn’t. Just experience it as a raw mass of terrible aesthetic purity:

================================
3.0 – PERFECT GAME DEFINITIONS
================================

I’ve made up ten levels of perfect game saves, summarized below.  As I said in the intro these are open for debate.  These refer to Disc 3 saves.

SPECIAL NOTE: In general you can’t go through the whole game with a certain perfect game level in mind, and then switch to a higher level.  There are many points in the game which you can’t visit again, so you must have completed the requirements for that place before you leave.  See section 7 for details.

Level 0   – beat the game

Level 1   – Level 0 requirements
– purchase the Costa del Sol villa
– earn all limit breaks
– get Yuffie and Vincent

Level 2   – Level 1 requirements
– beat Ultimate/Emerald/Ruby weapons

Level 3   – Level 4 requirements
– Full set of chocobos (see notes)
– Chocobo Sage tells you everything
– Everyone’s Grudge does 9999 damage to each character

Level 4   – Level 2 requirements
– at least one of each materia mastered
– all characters at level 99

Level 5   – Level 3 requirements
– at least one of each item/weapon/armor/accessory
– complete all sidequests

Level 6   – Level 5 requirements
– at least eight of each armor/accessory, unless the max is less
than eight (thanks to nephalim for this suggestion)
– max stats for each character

Level 7   – Level 6 requirements
– maximum amount of items/weapons/armor/accessories

Level 8   – Level 7 requirements
– max gil
– max experience for each character

Level 9   – Level 8 requirements
– complete set of materia

Notes

Sidequests: This includes getting all four Huge Materia, Yuffie’s
sidequest, the Ancient Forest, and fight all Fort Condor battles.  Will is
testing the F.C. battles I’m missing.  As soon as he’s finished, I’ll flesh
out this requirement further, and probably move it to a higher level.

Items: See section 4 for details.

Materia: See section 5 for a list of materia and the AP amounts needed for
mastery.

Max stats: Use power/guard/mind/magic/speed/luck sources to get these stats up to 255.

Chocobos: Mate the gold chocobo you get from breeding and the one you get for defeating Ruby Weapon to get more gold chocobos (I haven’t verified this myself yet).  It should be possible to get 7.  Alternatively, get one black, blue, green, wonderful, and three golds.

Everyone’s Grudge: This refers to the Master Tonberry attack which inflicts
10 HP of damage for each enemy the character has killed.  This means each character has to kill 1000 enemies.

Max Gil: I don’t know what the max gil is, but it’s at least 400 million.
I’m guessing 999,999,999 because that’s all there’s room to display on
the menu screen.

Max Exp: 999,999,999 exp is the max.  Thanks to Drake for reporting this
one.  Note I haven’t tested this myself.

Complete Materia Set: See section 6 for details.

Once I have a better idea of whether level 8 or 9 is more difficult, I may
interchange them.  If anyone accomplishes this before me, let me know which one you were able to do first.

OPTIONAL: Chocobuckle
———————
Terence suggested this be made an optional goal because it’s got more than one use, and is largely based on opinion.  Possible goals include 0 escapes, 9999 escapes, and 2222 escapes.  I’d suggest 2222 escapes because it’s the easiest way to get Lucky 7’s.  Thanks to Arctic for pointing this out to me.

I mean, like, my god, it’s full of stars, right? If the aliens ever find this one it’s gonna blow their fuckin minds. I’ve got your monolith right here, assholes.

Uh, right, no, so I was talking about something. Okay, what we have here is a description of multiple different “levels” of perfection, with internal debate as to which metrics belong in which level. This is the actual definition of insanity. The entire thing about perfection is that it is an objective, binary condition. Something is either perfect or it is imperfect, and if perfection is your goal, then anything imperfect doesn’t count. If perfection isn’t self-evident, it isn’t perfection. So that entire block of text is fully disconnected from the thing that it thinks it’s talking about. It is pure howling gibberish, dressed up Vincent Adultman style in an ill-fitting trenchcoat of ersatz logic.

Okay, fine, so “perfection” is just the wrong word to use here. These are actually just different “achievements,” right? As if. These exactly are not achievements; they are fully arbitrary tasks that produce nothing and signify nothing. They aren’t interesting to do and there’s no reason to do them. There’s nothing behind them; they’re just numbers being displayed on a screen by a computer. Except of course there is a reason: the reason you would do them is to attain perfection. You can’t not use the concept of perfection here, because that concept is the only thing that makes any of this make sense. But it still doesn’t make sense! Having to argue about what “counts” as perfection completely defeats the purpose.

Okay, enough screwing around. What’s going on here is that these games are nothing but serieses of arbitrary tasks that don’t mean anything, and the appeal to perfection is the attempt to make them meaningful. The point of accumulating items is supposed to be that you need them for something. You might need to plan out how many healing potions you’re going to need in a particular fight, or something like that. But when that isn’t the case, when a game just has a bunch of random stuff crammed into it for no reason, these types of structural relationships evaporate. If you never need to use a healing potion, then it doesn’t matter when or how or in what capacity you can obtain one, and the number displayed next to it in your inventory means nothing. It could be 12 or it could be 10,000, and nothing would change either way. But if that number has a maximum value, then it suddenly gains a reason to exist: it exists for the purpose of reaching that maximum value.

Here’s the throughline. The games under discussion so far don’t have a workable definition of perfection because they’re too messily designed. Nowadays things are different; for the sake of filing off exactly these rough edges, games tend to be tightly constrained and heavily polished. You might think that this would fix the problem by making things non-pointless, by giving you an actual reason to do whatever it is you can do in the game, but that only works if you actually come up with a point for things to have. If not, then streamlining simply crystallizes the problem, because it makes the goal of perfection achievable. And this is exactly where we are right now: the idea of “100% completion” is no longer something that individual players have to make up, but is now most often built in to the structure of games themselves. The advent of achievementification has made the goal of perfection explicit. The game straight tells you what you need to do to reach “100% completion” and how close you are to getting there. But . . . wait for it . . . this still doesn’t make sense, because perfection is not a matter of design precision; it is logically impossible.

In a game where different decisions exclude each other, perfection is impossible in practice. Even if you can decide on a “best” set of decisions, it still doesn’t qualify as perfect4 as long as the other decisions have any merit whatsoever. But of course they always have merit: they provide the player with a different experience, which is the only thing that playing a game actually is. And in a game that is explicitly designed to be 100% completable, this remains the case – there are still multiple distinct mutually exclusive experiences that you can have with it. Quitting the game without ever reaching 100% completion is a different experience, and it has value for that reason, and that value is value that you don’t get if you go on to reach 100% completion, which means that 100% completion is by definition not 100% completion.

Sorry if I’m hamming this up. It’s actually just a basic means-for-ends confusion. As we saw in our Angelo Search example, doing nothing and getting nothing as a result is taken to be significant due to the existence of a counter which can be pointed to as an indication of significance. This is backwards. The only justifiable point of having a completion counter or achievements or any kind of explicit goal statements at all is to indicate good experiences. But the existence of the counter does not change the nature of the experience; it would still be a good experience without the counter. If you have the counter and not the experience, you have nothing.

There exist games that get this right. The Donkey Kong Country games were among the first to introduce the concept of 100% completion into the platformer genre. In Super Mario Bros. 3, there’s a bunch of different stuff you can get and different routes you can take, but none of it is “recorded,” so there is no sense in which you can try to do “all” of it. In Super Mario World, all of the alternate level goals you find are saved, so you can go for all of them, but this information isn’t displayed anywhere, so it’s fully at your own discretion. The only reason to do it is if finding the goals is actually an interesting project. Donkey Kong Country, by contrast, introduces the Big Counter. Your save file has a completion percentage on it based on the number of bonus rooms you’ve found; you see it every time you start up the game. Some of these secrets are interesting to try to find and some of them are stupid, but at least they’re all something. Going for 100%5 of them necessitates actually doing stuff. But the truly notable game in this regard is the sequel. Each level in Donkey Kong Country 2 contains a single “DK Coin,” and each one is hidden in a different interesting way. Getting all of them requires exploring around offscreen and making difficult jumps and other such behaviors that are actually engaging. And on the navigation map, each level shows whether you’ve found the coin or not, so a missing coin indicator sends not merely the message that there’s a button to be pushed for the sake of receiving a gold star, but that there is interesting gameplay in the level that you haven’t seen yet. So in a case like this, the completion counter points you to where the good experiences are. It has a substantive function that is justified in terms of its practical effect on the player.

There are probably some motherfuckers out there who’ll still want to go for the the imagining-Sisyphus-happy counterargument here. That is, so what if some achievements are “empty”? Nothing means anything anyway, right? People who do things like this are making their own goals and defining their own values, aren’t they? Well, sort of, but this line of argument applies the other way around. The fact that nothing means anything is why goals don’t real. So the only sensible thing to do is to completely ignore the concept of achievement and just look at the actual behavior that the humans in question are performing, and the experiences they are having as a result. In one case people are engaging in interesting gameplay and having things happen in their brains, and in the other people are turning on a computer and then doing nothing, and then looking at the results and experiencing nothing. This is not imagining Sisyphus happy. This is Sisyphus pretending to roll a boulder up a hill and then pretending that he actually accomplished something by pretending and then congratulating himself on a “perfect” boulder roll. I mean, really. Camus would be disgusted enough to lose his taste for fucking French actresses for maybe like five minutes.

Still, that’s just an assertion on my part. There actually is one more step that I have to take here. I have to argue that what I’m calling “interesting gameplay” is in fact, in some substantial way, better than simply leaving a game console powered on and watching numbers go up. Except . . . do I? Do I really? We already know that the only reason people engage in certain behaviors is because of the existence of a counter that gives them the appearance of significance. In other words, they’re doing them because the designers of the game, implicitly, told them to, and for no other reason. In other other words, if it were really up to the players themselves, they would choose not to engage in these behaviors. Actually, the vast majority of the time they really are choosing not to engage in these behaviors. People like to write up these guides to make themselves feel important, but the vast majority of hardcore gamers don’t even bother with this shit, and the vast majority of people who play games aren’t hardcore gamers for exactly this reason: because this shit is fucking boring.

The trick is not to get complacent. Remember, the developmental progress of games has been towards this problem, not away from it, such that “100% completion” is now the normal thing that games are assumed to be about, to the extent that it’s actually built in to their distribution platforms. So the fact that most people hate this shit does not tell us that things are fine; it tells us that we have a real problem. We have a highly-developed and ubiquitous form of “entertainment” that coerces people into doing things that aren’t interesting and that they don’t like doing (while in many cases extorting money out of them in the process). And games, while often notably blatant about these types of things, are in no way sui generis. We live in a society that, in general, is built around people doing things that they don’t want to do, that aren’t interesting, and that don’t produce anything worthwhile. This is how things really look at 100%. We are all Angelo Search now.

So that’s it. The people behind these things, consciously or otherwise, are: wasting human potential, stunting intellectual growth, promoting excessive consumption of resources, degrading aesthetics, and creating bad ideology. This is evil.


  1. Actually you kind of have to hack it, apparently, since the random number generator that the game uses is fake. I really hope you appreciate the effort I’m going to to streamline this argument for you. It’s quite taxing. 
  2. Look, I’m really sorry about the amount of exposition this requires. The game in question originates from a period during which design was generally clusterfuckish, and games were often intentionally obfuscated for the purpose of selling strategy guides. Also I guess I should clarify that I’m not making any of this up? 
  3. no seriously what am I doing send help 
  4. I will pay the dictionary people good money to eliminate the word “prefect” from the English language and also all spellcheckers, thank you. 
  5. Wacko trivia: the maximum completion percentage in Donkey Kong Country is 101%, because reasons. In DKC2 it’s 102%, and in DKC3 it’s 103%, also because reasons. 

Against science

You’ve probably heard that there was a “march for science” this weekend, and you may have asked yourself what the hell that was supposed to mean. This is one of many things nowadays that is “common sense” and “shouldn’t be a partisan issue” and “it’s so ridiculous that it’s 2017 and we’re still talking about this,” which is exactly how you know that this is not where the real issue is. That is, there’s a notion that certain strains of political thought are “anti-science,” but of course this is absurd. Science is a methodology, not a goal, and for this reason, no one is actually opposed to it as such. Republicans are more than happy to support science when it’s being used to construct giant bombs and mass surveillance tools. Nobody is insisting that these things be done according to Biblical instructions. People who have goals that they want to achieve use the means that are available to them, and science is one of those.

First of all, the specific issue we’re talking about here is global warming, which is something that we should not euphemize, as it is and continues to be the single most important issue in politics. (If we’re particularly unlucky, it will continue to be the most important issue for the remainder of human history.) There’s a lot of talk concerning a “scientific consensus” on this issue and the fact that certain politicians won’t “accept” it, but this does not amount to an explanation. Science is, again, a method that can help you understand what the situation is right now, and potentially help you figure out how to do something about it, but only after you’ve decided what it is that you’re going to do. As explained by the Big D himself, David Hume, in a much-quoted-but-apparently-not-quoted-nearly-enough passage:

In every system of morality, which I have hitherto met with, I have always remarked, that the author proceeds for some time in the ordinary way of reasoning, and establishes the being of a God, or makes observations concerning human affairs; when of a sudden I am surprised to find, that instead of the usual copulations of propositions, is, and is not, I meet with no proposition that is not connected with an ought, or an ought not. This change is imperceptible; but is however, of the last consequence. For as this ought, or ought not, expresses some new relation or affirmation, ’tis necessary that it should be observed and explained; and at the same time that a reason should be given, for what seems altogether inconceivable, how this new relation can be a deduction from others, which are entirely different from it. But as authors do not commonly use this precaution, I shall presume to recommend it to the readers; and am persuaded, that this small attention would subvert all the vulgar systems of morality, and let us see, that the distinction of vice and virtue is not founded merely on the relations of objects, nor is perceived by reason.

In short, science can, ideally, tell you exactly what the present situation is, but what it can tell you about what you ought to do about it is – again ideally – exactly dick. After all, the group of people who accept the scientific consensus on global warming includes Barack Obama, who, well, I’ll be generous and not say that he did nothing about it during the time that the issue was on his desk, but considering the scale of the problem, it’s difficult to argue against the conclusion that he basically sat on his hands.

Worse, “science” is in fact the thing that caused global warming in the first place. It’s more than a little peculiar to oppose global warming by demanding more science in politics, seeing as what actually happened is that extreme advancements in industrial technology outstripped our ability to monitor and control them via policy. If it weren’t for science, if it were simply a matter of choosing a policy, no one would ever have chosen for global warming to happen. But, you’ll object, that’s not science’s fault. It was the profit motive, or human short-sightedness or whatever. You are entirely correct. To attach the label “science” to the results of a scientific process is a category error. Science is the process and is not the outcome. The first sentence of this paragraph makes the same category error. Science is not the cause of anything; it can only be the means by which a cause produces its effect. For this same reason, science cannot save us. Indeed, treating science as a real thing and not clinging to it as a fetish means respecting it even when it cuts against you – when it demonstrates that getting what you’re after requires sacrifice.

And also for this same reason, “science” cannot be the thing that our recent marchers were in fact marching for. They are making the same error: what they are actually in favor of is the results of science. A common grievance is the fact that the current administration seems to be attempting to neutralize the function of the EPA, if not eliminate it entirely. This is usually framed as an attack on “science.” But “science” and “the environment” are not the same type of thing. “The environment” is what we want; “science” is potentially how we get there (again, it can just as easily be how we don’t get there). Insisting on “more science” does nothing to oppose those who don’t want to preserve the environment in the first place.

More than that, “the environment” is not actually what we want, either. There’s always going to be an environment, no matter what. Even a Mars-like lifeless rock is still “an” environment. What we want is an environment that is good for humans, and it is here that we finally get around to imposing some fucking constraints. The thing that’s really disgusting about global warming is that rich fucks are going to be fine. They have high-tech doomsday colonies in which to while away their decadent lives while the rest of the world burns. The thing that allows them to do this is science. The other thing that allows them to do this is a hell of a lot of money – money that could be used to help the people who are actually going to get fucked to death otherwise. This is the only thing that is intelligible as a political demand. We don’t want rich fucks to jump up and down and shake their pom-poms when they see a pretty picture of a nebula. We want their fucking money. To actually argue this, though, you’d have to argue that rich fucks are not entitled to spend their money however they please – indeed, you might even end up arguing that people in general have a moral obligation to use their resources to make things better for others. And that’s just not how we do things in America.

The reason, then, that one “fucking loves science” is because it is easy to do so. Like, I wouldn’t normally do this stuff. Y’know, everything’s so partisan these days. I don’t like engaging in politics, like some kind of union laborer. It’s just that I love facts, you know? Facts are the best.1 Which, like, yeah. Facts are facts, which is why that is a worthless statement. What matters is what you’re going to do about them. And if what you want to do about them were something that the people in charge of this society were okay with, it would already be happening. If you want something different, then, you should be honest about what it is you’re saying. After all, most of the problems that we aspire to solve using science have already been solved – for some people. As William Gibson famously put it, the future is already here, it’s just not evenly distributed. So if you’re going to protest, don’t settle for taking the easiest possible stance out of fear that you won’t get a sympathetic writeup in the New Yorker. Make a real claim. What you are actually in favor of is coercive economic redistribution.


  1. Like, there’s apparently a hat with the word “facts” on it, because wearing that in public will totally show everyone what a functional and intelligent person you are. 

Our haunt

The revelation that Tony Schwartz was the exclusive author of The Art of the Deal, with Donald Trump providing only indirect thematic inspiration, has been nagging at me ever since that first tweet. Of course, I use the word “revelation” ironically; it’s always been terribly apparent that Trump lacks the capacity and focus to read an entire book, much less write one. But that’s exactly what’s bothering me: it is obvious that Trump did not write this or any of “his” other books, and yet they are still referred to as books “by” Trump and quoted from as though the words therein emanated from Trump himself in any capacity at all. In short: why is everybody constantly lying about this?

Consider, for example, this article, wherein the author not only assumes that the words in The Art of the Deal are Trump’s own, but actually attempts to mine the particulars of their phrasing for insight into Trump’s personal psyche:

Notice the specificity of his observations, his eye for certain details. Notice the irrepressible joy, almost awe, he experiences and expresses. Notice how loving, wistful, aroused he is, by the play of surfaces. It’s hard to believe he’s faking any of this. It seems, to me at least, quite real.

This analysis cannot hold, for the very simple reason that Trump did not write the words being referred to here. That is, Schwartz probably wrote this based on some sort of story or description he got from Trump, and maybe this really is how Trump is, but it’s still bad analysis. It ignores the real situation. It’s fake news. The fact that it “seems real” is exactly the problem: it is a lie that is easy to believe.

So what this means for The Art of the Deal specifically is that it’s essentially Trump fanfiction (without the “fan” part); given its inherent mendacity, it is worthless as evidence (and this probably applies just as well to everything else that has Trump’s name on it). Similarly, it’s been widely acknowledged that Trump’s inaugural address was written by Steve Bannon and Stephen Miller, and this presents the same problem. Those words were not Trump’s, and yet they are taken as evidence of what Trump personally thinks and believes. And Trump is not a confounding case, but rather the clarifying example here, because it’s rather apparent that he doesn’t think about or believe in a whole hell of a lot beyond his own surface-level aggrandizement.

So of course this phenomenon is not limited to a single series of hype-building hackworks; it is one of the basic properties of the culture that we inhabit. We routinely attribute things to people who did not originate them. This applies not only to ghostwriting in general, or to political speeches in general, but also to pop songs, where analyzing a song written by a committee and composed by a robot supposedly reveals to us the performer’s personal convictions, and to celebrities in general, whose stage-managed public appearances are tugged and prodded for evidence of appropriate ideology, and to technology, where Steve Jobs is given credit for the work done by a variety of different designers and engineers employed by Apple Inc. (to be clear, this is not to insist that someone like Jobs, or like a pop singer, contributes nothing, but simply that a lot of the stuff attributed to them is stuff that they had no real hand in), and to corporations in general, where CEOs are lauded for “spearheading initiatives” that earn them their golden parachutes on the way out, and, yes, to society itself, where workers, the people who actually do the things, are treated like a big dumb lump of human inertia, while living disutility generators like Thomas Friedman go jetting around the world in the guise of “thought leadership.” So this isn’t fine-print pedantry. It kind of matters.

Admittedly, there’s an extent to which this is all shorthand; that is, by “Trump says” we consciously mean “it is the collective public opinion of Trump administration officials that,” but there’s also an extent to which we are falling for our own con. If you seriously think that every anti-Trump protestor and/or commentator understands fully that Trump is the symptom and not the disease, you’re kidding yourself. As above, lots of people are taking what’s happening right now to be representative of Trump as a person rather than a result of the general political situation as opportunized by specific schemers of Bannon’s ilk. For example, “Trump’s” budget proposal, among other things, was poached pretty directly from the Heritage Foundation:

“When we were on the campaign, for Trump’s speeches we would pull stuff from Heritage budget documents and make the arguments that Heritage was making,” Moore said. “I think it’s very accurate to say that a lot of these ideas … even some of the arguments they make, some of the rhetoric is almost verbatim from Heritage.”

If you don’t know this, you are not capable of opposing the entity that is actually doing the things that you are opposed to. And Heritage has been around; it had a major influence on Reagan’s presidency, for example. So this isn’t one misdirection happening right now because of social media or whatever; it is the ongoing cause of everything that has been happening, all along.

We all learn in school that Issac Newton said he was only able to see what he saw by “standing on the shoulders of giants” but we learn this at the same time that Newton himself is drilled into our brains as the lone-genius inventor of physics, as a Great History Man. So we often think we understand the distinction here – nobody will, when pressed, actually claim that Jobs plucked the iPhone fully-formed from his brain – at the same time that we unconsciously assume that things really are that simple (that plucked-from-the-head reference is from mythology, i.e. the stories out of which we construct the underlying assumptions that we use to understand the world). Because of course both things are true: nobody’s a lone genius, but people do make real individual contributions. I’m not saying the relevant dynamics are always obvious, or that it’s never safe to elide the details (I’ll admit to making this very elision myself), but to simply assume that everything with the Trump brand name stamped on it emanates directly from the addled brain of the man himself is to accede to the fantasy that people like Trump attempt to flatter themselves with, and to abandon the truth. We are attributing authorship of the situation to the person who is in reality nothing more than a name on a dust-jacket.

Worse, this is exactly the trap that these people want us to fall into. The whole point of someone like Trump is to function as an attention heat-sink, leaving people like Bannon and organizations like Heritage free to operate in the shadows. The only way to stop these things is to exorcise the animating spirit; otherwise, the same forces will return to possess the next media-friendly stooge who wanders in looking for applause lines. Failing to get this at least half-right is what allows for someone like Trump to get up on a stage and say “I alone can fix it,” and for people to believe him. And the opposing view, that “Trump alone can break it,” makes the same mistake and results in the same ineffectuality. We should try to avoid this. It’s the kind of thing that could come back to haunt us – I mean, more so than it already has.

Nothing comes from nothing

Master of None isn’t so much a show about Millennials as it is HEY EVERYBODY THIS IS A SHOW ABOUT MILLENNIALS. The opening is basically a New York Times columnist’s fever dream: two attractive young people who just met are having casual sex; when their contraception fails, they both simultaneously use their phones to look up whether it’s possible to get pregnant from the state they were in; they find conflicting information, argue about it, and ultimately decide to play it safe by using a ride-sharing app to go to the pharmacy and buy emergency contraception. There’s nothing wrong with doing something like this, necessarily, it’s just that there happen to be a bunch of things wrong with it.

The show takes a modern, realist approach to the typical young-people-in-New-York setup, which is to say it’s the bizarro-world Friends, which is to say it’s the real-world Friends, since Friends already takes place in the bizarro world. The characters hang out in crowded bars and on the street instead of in brightly-lit coffee shops and on inexplicably large couches. The scripting is low on zaniness and high on mundanity; the number of big laughs in one season can be counted on one hand, but incidental conversations are suffused with constant, low-level humor. Which, indeed, is much closer to the sort of experience that most of us have of real life, which tends to be lacking in elaborate setpieces and explicit punchlines. This isn’t to say that the show is always finesseful; its good intentions occasionally manifest themselves as cringe-inducing bluntness. At one point, Dev tracks down the “best” taco truck in town by spending half an hour on Google and Yelp (which itself is already overwrought NYT op-ed fodder, literally), only to find it closed, at which point he exclaims, “what am I supposed to do, go find the second best taco truck?” This is both verisimilitude-destroyingly blatant and embarrassingly zeitgeist-baiting. (It’s actually even worse than that. When Dev gets to the truck, he asks the guy about what he should get and what kind of meat is popular – as though he’d never eaten a taco before, despite his zeal in trying to find the “best” taco place. The writing here is so tryhard that it’s not even internally consistent.) In general, though, Master of None is calmly relatable where Friends is nakedly escapist.

It isn’t just a matter of style, though. Master of None takes an explicit anti-Friends stance in order to make a political point. Escapism is in fact sinister; the glib whiteness and soap-opera-lite saccharinity of Friends make it an inherently reactionary show, regardless of intentions (if any). In Master of None, by contrast, people have problems that aren’t cute, the world is grinding and unforgiving rather than enjoyably dramatic, and things generally don’t work out. This point is not unrelated to racism. Part of what racism does is shift the burdens of reality onto oppressed groups, such that white people get to live in a comfortable bubble of cluelessness. This is sickeningly blatant in the case of things like slavery and sweatshops, but even within modern America it is mostly not white people doing care work, maintenance work, and farm work, and it is mostly white people writing opinion columns1 and getting media awards2. Unfortunately, this specific intersection forms one of Master of None‘s more significant stumbles. Money basically doesn’t exist in the show, which means that, even though issues of oppression are directly addressed at times, they always come across as matters of convenience rather than matters of life and death. I believe this is what the kids these days like to refer to as “privilege.” In this sense, while Master of None‘s efforts are admirable, it ultimately fails to escape the Friends-zone.

Still, one does not wish to be overly demanding, and Master of None does have its points to make. Dev’s core friend group is meticulously constructed to defy stereotypes: the normal/boring one is Indian, the cheerful, attractive one is an Asian man, the calm, level-headed one is a black lesbian, and the weirdo is the token white guy. Dev’s centrality to the show is particularly important. Presenting an Indian man as an everyman is an explicit political statement – it frames Dev’s experiences as the experiences of normal people. For example, when Dev learns about the experiences his immigrant parents had in India and the racism they faced upon moving to America, this is framed as a typical getting-to-know-your-parents story – the episode is called “Parents,” not “Immigrants.” Because this sort of thing is a typical story; lots and lots of families have experiences like this. In short, Dev is presented as an ordinary guy without the practical reality of his ethnicity being elided. The show not only makes the point but performs the work of constructing people like this as “normal.”

That thing about money is still a problem, though. Dev’s parents are conventionally successful, so their experiences don’t seem to have really disadvantaged them in any way, and they’ve apparently passed quite a lot of privilege along to Dev, who lives pretty blithely, especially for a working actor in NYC. Dev’s reaction to his parents’ story is not the occasion for any kind of revelation, but rather a general “wow, how about that.” This isn’t wrong by itself. It’s still a real story that really has happened to people. It would be equally wrong to portray all immigrants as hopelessly beaten down and never successful, because that isn’t true either. You can’t portray everything at once. How do you get around this? You don’t; you go through it. You portray one specific thing, making it relatable though specificity rather than overgeneralization. Master of None is a perfect test case for understanding this distinction, because it gets this exactly right as often as it gets it exactly wrong.

The show does well when it sticks to what it knows. “Indians on TV” is about exactly what it says: one specific aspect of racism. Indians specifically are still way behind in terms of cultural representation, despite being one of the largest ethnic groups on the planet, as well as one that is becoming increasingly central to everyday American life (random example: a number of “Indianisms” have arisen out of Indian English thanks to everyone’s favorite ongoing world-historical crisis, globalization). Another instance of this same story just came up recently: the actor Kal Penn posted a bunch of racist casting calls that tasked him with playing the same goofy Indian stereotype over and over again. What’s really interesting about this is one particular comment: when Penn was asked to do “the accent,” he was was specifically instructed to make it more “authentic.” Naturally, this is as absurd as it gets; an actual Indian man was told to act like a cartoon character for the sake of “authenticity.” But that’s the thing: because this one aspect of media representation is so unbelievably shitty, this is what Americans actually think Indians are like. That’s why this is a real issue and not just a matter of demographic parochialism, and it’s why the episode’s opening montage of popular TV stereotypes, seen through a child’s eyes, hits unexpectedly hard.

The episode develops this critique in a number of ways. A sympathetic studio head tries to explain to Dev that a show with multiple distinct Indian characters wouldn’t be marketable; it would be understood as an “Indian show” (unfortunately, this same criticism applies to Master of None itself: the only episode where Dev hangs out with his Indian friends is the “Indian episode”). Which is in fact the situation we are currently in; Black-ish is “the black sitcom” and Fresh off the Boat is “the Asian sitcom.” So while this is an excuse, it’s a real excuse. Dev counters that this is an obvious double standard; no show is considered a “white show,” even those that actually are “white shows” in every possible way. So what we can understand here is that the current situation is wrong in a way that makes rational sense; understanding how the parts fit together makes claims of racism plausible. Indeed, the specific reason why such claims are so often blown off is that white people lack this understanding; they don’t understand how racism works. The specific incident that triggers the discussion of racism in the episode is unbelievably minor – it’s literally nothing more than a dumb joke in an email thread. But because the episode takes the situation seriously and follows through with it, it helps us understand how the little things are connected to the big things. It not only addresses a specific, underserved grievance, but also points to a broader understanding of the relevant social dynamics, and it does this simply by addressing its grievance well.

Interestingly, this episode also contains a subtle misstep that illustrates the gap between doing this right and doing it wrong. When Dev and Denise are discussing the situation, Dev tries to claim that black people at least have the advantage of visibility and advocacy via major celebrities, whereas Indian people have nothing. Denise naturally pushes back, but in doing so she refers to Oprah and Beyoncé, and she immediately recognizes this as an own goal: black people really do have top-tier media representation. As a casual conversation, this is all perfectly realistic and entertaining, but the way it’s situated in the episode, it comes across as an actual argument. I don’t think this is intentional, simply because nobody could possibly be clueless enough to argue that the existence of Beyoncé somehow mitigates the effects of racism on black people. In fact, this dynamic is what defines the present situation: black people are very well-represented in popular culture, and they are simultaneously being casually murdered and jailed in unconscionable numbers. The problem here is that the episode has to this point been trying to deal with one aspect of racism – media representation – but is now trying to make a claim about racism in general, and this does not work. While media representation is connected to other issues, that doesn’t mean you can understand everything in those terms. Most of life does not happen on the TV. This is the important difference between generalization and overgeneralization. The concept of the episode being about media representation of Indians is unavoidably a generalization – not every Indian person will have had these same experiences or understand them in the same way – it’s just that, if done well, it’s a valid generalization.

This is something you really have to be conscious of when you’re trying to do things like this. If you’re just doing a story about a particular character, you don’t have this problem so much, since you’re necessarily confined to that perspective. But when you start making episodes that are explicitly about Serious Issues and you start trying to Make Statements about them, you have to mind this gap, or you will fall into it. And, as it happens, the episode that deals with sexism locates this exact gap and proceeds to use it for skydiving practice. The bluntness of the episode titles makes them useful evidence as to intentions – the sexism episode is called “Ladies and Gentlemen,” an empty reference that signifies nothing. This provides a lamentably clear indication that the episode is going to try to address sexism despite not really having anything to say about it other than “it exists” and “it’s bad”.

The episode opens with a contrast between Dev’s night out at a bar, where he fusses constantly over trivial annoyances, and the same night as experienced by a woman, who gets creeped on the whole time and eventually followed home. This is somewhat heavy-handed, with overwrought musical cues that make it difficult to really take seriously, but in terms of content it’s all well and good. It makes the important point that, even though men and women exist in all the same social situations, women nevertheless experience the world as a phantom zone, haunted by ghosts that men can’t see.

The problem is that it doesn’t do the thing that the racism episode does to make its point felt. That is, the woman gets followed home, and . . . that’s it. Nothing really happens, and the situation is not connected to anything broader. There’s no attempt to argue that this amounts to anything more than a bad night out. In fact, when Dev discusses the issue with Rachel and Denise, they simply reiterate additional versions of the same story, which makes it seem even more like a random annoyance and less like a real issue. So the contrast that the episode tries to establish falls flat: a man had a bad night at a bar, and a woman had a worse night at a bar. You and I might understand the issue more broadly, but anyone who doesn’t is just going to see an overreaction to an everyday, if unfortunate, occurrence. In that situation, the conservative advice to just suck it up and defend yourself would actually be valid, because that would actually resolve things. The reason sexism is a real problem is that it goes beyond the individual case, which is to say that it goes beyond you. In the racism episode, we see Dev getting frustrated with the limitations of the roles he’s offered and pushing back; we see him discussing the situation with a friend who’s had similar experiences; we see him fail to make headway when explaining his case to the executives. Through this, we understand that this is a pervasive issue with substantive effects on real people. By contrast, all the sexism episode gives us is “creeps exist,” which everyone outside of Reddit already understands. Because the episode lacks a perspective through which we could come to understand the situation, it is reduced to simply mouthing truisms without connecting them to reality.

In fact, the perspective that the episode offers us is Dev’s – the man’s perspective on sexism. This . . . isn’t the worst possible thing. There are stories to be told about men coming to terms with the effects of sexism and their own unintentional (or otherwise) complicity and soforth. It’s just that this isn’t what happens. As mentioned, Dev’s big revelation in the episode is “creeps exist.” After that he just starts rattling off feminist talking points. This is deeply cringeworthy on its own; as someone who has spent rather a lot of time reading about this type of stuff, I find it personally embarrassing. But in fact it’s significantly worse than that, because what actually happens is that Dev makes these speeches in a bar, surrounded by a crowd of women who cheer him on as he does so. In fact, it’s significantly worse than that, because later on Dev’s female coworkers buy him a cake out of appreciation for him being the most basic feminist imaginable. I guess the bakery was all out of Meets Basic Standards of Human Decency cookies. Y’know, I’m conscious of the limitations of my position here. I try not to pretend like I’m any kind of expert or anything. But I’m pretty sure that a crowd of women cheering on a man while he impresses himself by spouting off a bunch of obvious shit is the exact opposite of what feminism is.

Comparing the resolutions of the racism and sexism episodes is instructive. In the racism episode, Dev ends up working with a new, younger producer who claims to be more “enlightened” than the old one, but who, in her ignorance (slash whiteness), ends up proposing a show with an even more racist premise – and once again requiring Dev to play an Indian stereotype. As mentioned, this elucidates the general dynamics of the situation. It illustrates the fact that racism is a non-trivial problem that can persist despite good intentions. Because few people hew to any kind of principled anti-racist theory, and because everyone’s job compels them to move product, racist stuff keeps happening, and ideology replicates itself despite surface-level opposition. This has been said countless times before, but the fact that the internet has everyone all super up to date on proper anti-racist practice and yet nothing’s actually changing is how you can tell that racism is a structural problem that does not depend on people’s individual attitudes to operate.

In the sexism episode, the exact same situation comes up, and what happens is exactly the opposite. Dev raises the issue of gender imbalance on the commercial he’s working on: all the women are in the background and all the speaking roles go to men. As soon as this is brought up, the director and the company all immediately agree to completely reverse the situation, such that women now get all the prominent roles. This time around, there is somehow nobody making the argument that this would be confusing and alienating, despite the fact that it’s a commercial, and therefore has much less leeway to be unfamiliar than a new TV show. There’s no structural pressure preventing a sexist premise from immediately being swept away at a whim. In other words, what the show portrays is exactly how sexism doesn’t work. Worse, it reifies the conservative argument that it is traditionally-oppressed groups who now have the real advantages, since they can win automatically by merely raising the issue of their identity. Of course, this is not at all the case. If simply raising the issue were enough, there would be no problem. In the racism episode, the issue is raised and addressed sympathetically, but the problem remains intractable. In the sexism episode, as soon as the problem is named, it vanishes into the air like a conjurer’s trick, like it never really existed in the first place. The whole significance of racism and sexism as cultural institutions is that they have their own internal logics and practices, such that, when you push against them, they push back.

Now, there’s still somewhere for the episode to go after all of this happens. Dev’s all proud of himself for getting a B+ in Remedial Women’s Studies 101, so the correct feminist action to take here is to kick him in the dick. That is, he needs to come to the realization that he has only scratched the surface, and that there remain real foundational problems that he has not yet begun to understand. He also needs to realize his own complicity in the situation, that sexism is not perpetuated solely by “creeps” but also by well-intentioned nice guys of the type that he himself is. More specifically, he needs to come to understand that he can’t fully understand the situation, that without the lived experience of sexism, he requires women’s perspectives (that’s plural) to make real sense of things. It is very annoying how close this comes to happening.

At the end of the episode, Rachel and Denise receive a minor social slight from some douchebag – the kind of thing the kids these days like to refer to as a “microaggression.” They complain, Dev blows them off, and they get pissed, which sparks a fight between Dev and Rachel. What needs to happen here is for Dev to come to understand that not all issues are as obvious as creepers or the pay gap – that even when something seems to him to be stupid and trivial, he still needs to respect women’s subjectivity instead of trying to argue over them. The episode gets right up next to the place where it needs to go, and then immediately falls over backwards. The instant the fight begins, the substance of the issues the episode has been trying to raise disappears completely, and we’re left with a completely generic Sitcom Couple Fight, which is resolved by Dev issuing a completely generic Sitcom Boyfriend Apology. This setup is the perfect opportunity for the show to get out of the standard relationship-drama mold and make the point that fights like this are often the result of real conflicts, that the “war of the sexes” is actually oppression, and it totally whiffs it. The only point that the episode needed to make goes unmade. Explicating the problems with reducing feminism to its effects on heterosexual romantic relationships is left as an exercise to the reader.

This is actually why “writing what you know” is not the right way out of this: it prevents you from ever getting out of your own perspective. The basic intent of this episode is correct: men really do need to be able to understand what the world looks like from a woman’s perspective, even if they can never really see it for themselves. But this isn’t a matter of disinterested anthropological investigation; it’s a matter of blood. Reciting the appropriate talking points does not do the thing that needs to be done. In order to do this right, the show would have had to make somebody bleed.

Indeed, the mere fact that there is a “racism episode” and a “sexism episode” is itself what the kids these days like to call “problematic.”3 Racism and sexism precisely do not resolve themselves into isolated, easy-to-understand occurrences; they are always present, baked into ordinary, everyday events, slithering through normality like snakes in the grass, striking when you least suspect. Bungling the sexism episode so badly only exacerbates this effect; again, it reifies the conservative argument that these things are lifestyle choices and not real political problems. And given the show’s blatant thirst for Millennial trends, it further implies that these concerns are only trends, that they’re the kind of things that overzealous young people will eventually grow out of. It presents these issues – the foundational issues of all human societies that have ever existed – as buffet items, from which one can pick and choose what one wishes to sample. The truth, of course, is the opposite: in reality, these things are forced down people’s throats, and the taste lingers.

Far worse, then, than the fact that the show handles its sexism episode poorly is the fact that there is a “sexism episode” at all, that this concern is raised and addressed once in complete isolation (like, I think there’s a term for this). To wit, Master of None does an absolutely atrocious job of handling its female characters. The only well-portrayed one is Denise, who is in fact the most interesting character on the show by a fair margin, but she gets no plot focus and relatively little screen time, and most of it is just her talking to Dev about Dev’s problems (again, I’m pretty sure there’s a term for the notion that women are only there to act as sounding boards for men). Similarly, while Dev’s father is the dark-horse star of the show, his mother barely exists. The real problem, though, is Rachel, a.k.a. “Dev’s girlfriend,” who is the focus of about half the season and whose characterization never advances beyond “Dev’s girlfriend” (this is especially disorienting due to the fact that she’s the best-acted character).

There’s a particularly jarring example of the show dropping the ball on this, hard, like bowling-ball-on-toe hard. There’s a scene where Dev takes Rachel to a barbecue restaurant, only for her to reveal upon ordering that she’s a vegetarian. Rachel is so accustomed to suppressing her own desires that she doesn’t even mention the issue until she’s forced to, and Dev is so self-involved that he doesn’t even notice there’s a problem until it flies in his face (in case it’s not obvious, this is exactly the kind of thing that demonstrates why confining the feminism-related content to its own single episode is hugely damaging to not only the show’s moral standing, but also to its thematic integrity). She gives him the “It’s Fine” deflection, and Dev has a delicious meal while Rachel basically subsists on cornbread. This is actually a really great treatment of a common, emotionally fraught situation – exactly the kind of thing that a show like Friends would either ignore or inflate into zany antics. It subtly raises a number of pertinent issues: Rachel is accustomed to having her desires casually ignored, such that she barely even registers them as desires anymore (she very unconvincingly avers that she “loves sides”), Dev tries to act nice but ultimately doesn’t care and is basically just focused on his own enjoyment, and of course society in general does not do a particularly good job of accounting for the fact that people are different and have truly divergent desires and convictions. But none of this is ever followed up on. The vegetarian thing is referenced like once, and the obvious problem this creates for Rachel and Dev’s relationship dynamic is never addressed even as their relationship is portrayed as being in serious trouble. Hence, this extremely provocative scene exists in total isolation from the rest of the show and absolutely nothing comes of it.

Indeed, Rachel barely does anything at all other than interact romantically with Dev. She complains about her job sometimes and there’s a subplot where she buys a couch. That’s about it. Even in the episode where she visits her grandmother, she bails almost immediately so that the rest of the episode can continue to be The Dev Show. And, I mean, this show actually is The Dev Show, but that’s exactly the thing: people don’t exist in isolation. When you don’t portray others as real subjects, what you have is not just exclusion, but shallowness. You don’t even need to go as far as arguing that Rachel should have had her own story – the weaknesses in Rachel’s characterization weaken Dev’s story. Patriarchy hurts men too.

In fact, the problems in Rachel and Dev’s relationship end up being the show’s primary focus, which means that this dynamic not only weakens the show overall, but cripples its conclusion. As they start getting serious, the stars in their eyes start to fade, and Dev begins to feel that he doesn’t have enough confidence in their relationship to commit to it. So the first problem is that we have no real understanding of why this is; the two of them only ever have generic Couple Fights about things like Rachel being too attached to her job or Dev being a neat freak.4 Indeed, this is the same problem the sexism episode has: by trying to address sexism as a general concept, without a perspective to hook into, it can’t actually get a grip on anything.

The racism episode isn’t about racism per se. It’s about one specific type of interaction in one specific circumstance. And it is because of this that it is valuable: racism against Indians is not a particularly visible subject, so the episode helps highlight something that most people don’t think about. It’s for this same reason that the sexism episode falls flat. Without a specific viewpoint, all it can do is fall back on vague handwaving in the direction of “creepy guys.” Nothing in the episode is capable of helping anybody, because all of it is just the same general noise that everyone hears constantly. In the same way, then, by trying to talk about “Millennials” in general, by assuming that there is such a thing to be talked about, the show fails to be about the thing that it thinks it is about.

So I suppose we can stop beating around the bush now. The only reason I have been using the term “Millennial” in this post has been to fool you. There is no such thing as a Millennial. I mean, this is pretty straightforward, right? There’s obviously nothing that every person born during an arbitrarily-selected twenty-year period has in common. But there’s a reason this type of analysis has currency, and it’s because it’s close to something that is actually valid. As the link explains, there is no such thing as a “generation,” but there is such a thing as a cohort: a group of people with a specific shared experience. And there have indeed been a number of significant social and technological changes recently around which have coalesced cohorts. For example, there are people who have grown up with texting, such that they see it as a normal means of communication. But there are also people who grew up before texting blew up, and only came to it as adults, meaning they see it as something different from normal communication. Similarly, there are people for whom Facebook was a major part of their high school socialization, people who have always been precariously employed and have never known what having a stable office job is like, and people who use ridesharing services every time they go out anywhere. But in no case does any of these groups comprise “everyone” within a particular “generation.” Estimates for the size of the “gig economy” are somewhat divergent, but they seem to max out at around 30% or so – in short, not a majority. These workers are a cohort and not a generation. Each of the individual things that we talk about when we talk about “generations” is actually a cohort; they can of course potentially overlap in meaningful ways, but in no sense are they simply various aspects of the same group. And they’re not even just different groups of “young people” either. Some young people get married right out of high school or college; some middle-aged people get divorced and then have to relearn to navigate the dating world using apps and texting. Some young people actually do get office jobs; some older people have to take ridesharing work to stay afloat.

So whenever you say anything about “Millennials,” you are ignoring these issues. To reiterate: these are real issues, but they can only be understood by addressing them as themselves and not as interchangeable pieces of a general trend. For example, another cohort is people who regularly read social-justice-oriented stuff on the internet, and therefore have a tacit understanding of the norms and terminology used thereby. Meaning all those times when I talked about terminology being used by “kids these days” were also lies, because it is in fact relatively few modern young people who understand or even recognize terms like “microaggression” or “privilege,” and of course older people are just as capable of reading the same sources and acquiring the same habitus. If you assume that these things are simply a property of “young people,” you are failing to understand what is actually going on. Significant example: one of the big thinkpiece panics recently is about something called “trigger warnings” and the fact that they’re coddling young people and failing to equip them for facing the real world and whatever. Except only 15% of college professors have actually encountered such a demand, so it is in fact the case that the vast majority of current college students are not facing this issue in any way (and that’s even if you assume that it is a real issue). It is only those of us embedded in the relevant social-justice-friendly media circles who understand these things; this is not a property of our generation, but of our cohort.

So it’s pretty easy to work out the rest of this. People will pick a couple of these effects and then try to explain that young people are “narcissistic” or “idealistic” or whatever, and we can see now why this is necessarily wrong. It is an overgeneralization: it takes things that don’t actually have the same causes or effects and don’t actually concern the same groups of people and assumes that they do, and is therefore bad analysis. Of course, not all generalizations are overgeneralizations. The condition for a valid generalization is the same as the condition for a valid cohort: when you have a distinct group of people who share a particular experience. Indians living in America and watching television during the same era form a valid cohort in that they all grew up seeing the same stereotypes represented; ergo, one can convincingly generalize on this basis. Women dealing with “creeps” do not form a valid cohort, because different women in different positions in society experience harassment and assault differently. But there exist plenty of valid cohorts through which these experiences can be analyzed: if you look at the specific experience of women in major urban areas being followed home from bars, then you might have something. Or you might look at female professionals being spoken over in meetings, or women who try to report acquaintance rapes to the police. It would be defeatist to insist that all experiences are unique and can’t be aggregated in any way, and understanding where the lines are is what allows us to do real analysis. When you don’t do this, when you simply throw a blanket over what you assume to be a homogeneous area of experience, what you are actually covering is nothing, and what you can justifiably conclude is therefore also nothing.

(This is actually sort of a major thing in feminist history. Second-wave feminism was largely based on the assumption that all women had a shared experience of “womanhood,” and this assumption was challenged in various ways, most notably by black women. The main historical precedent for this argument is Sojourner Truth’s “Ain’t I a Woman?” speech, where she points out that her experience of womanhood is completely different from that of upper-class white women, and therefore from what upper-class white people in general assume it meant to be a “woman.” So it’s extra ironic that a race-conscious show like Master of None completely misses this point.)

Consider, as a simpler example, this article, which claims that the recent rap beef between Remy Ma and Nicki Minaj constitutes evidence that “hip-hop is dead.” This angle proceeds from the assumption that, because Minaj is a extremely famous hip-hop artist, her values and behavior are representative of the genre in general.5 In fact, the opposite is true: it is precisely because Minaj is super famous that she does not form a cohort with hip-hop artists in general. Rather, her cohort is just that: super famous artists, i.e. cultural capitalists. So of course her beef ends up being based on who’s the most famous and who sells the most records; that’s exactly where the valid generalization is for someone like her.

Furthermore, the fact that there is a famous rap beef happening right now is actually indirect evidence that hip-hop as the writer of the article understands it is alive and well. That is, the fact that there exist super famous hip-hop artists means that hip-hop is a popular genre, which means that there must necessarily be lots and lots of non-famous people doing interesting and original work in it – which would include preserving and expanding the traditions of the past as well as creating new ones. The writer, who presumably knows something about modern hip-hop, knows this, and I know that he knows this, because I know the same thing despite not knowing anything about hip-hop. Rock music, you see, actually is dead in the popular sense. There are literally no non-legacy rock bands that are famous right now. There is, however, plenty of new work being done in the genre by people who are not famous. This includes those who are bringing back cool stuff from the past, those who are synthesizing old influences with new sounds, those who are presently ahead of their time, and those who are fully idiosyncratic weirdos. So if hip-hop is currently more popular than rock, this must necessarily be even more the case for the genre that more people are into.

The problem is that the writer has gotten his cohorts mixed up. He assumes famous hip-hop artists and non-famous hip-hop artists are all the same type of people working in the same situation. They’re not; they might be making similar types of music, but they occupy different territories. But working hip-hop artists do occupy the same situation as working musicians of other types. For example, the explosion of music sharing caused by the internet has meant that artists without major corporate/advertising support can draw from a wider variety of traditions, make more diverse and less immediately appealing music, and still find an audience and income (potentially). This applies to all artists in this situation; thus, they form a valid cohort. Surely, there are plenty of further distinctions that can be made (and I could also be wrong about this; there could be other factors at work which cause this cohort to not cohere), but understanding this dynamic and applying it with the correct level of specificity allows us to make a valid generalization. It is by knowing something (barely anything, honestly) about working rock musicians that I know that working hip-hop musicians must be in the same type of situation. As Nietzsche puts it, “In the mountains the shortest way is from peak to peak: but for that one must have long legs.” He leaves unspoken the obvious prerequisite: in order to get anywhere, you must first climb one mountain. This is why Friends, which attempts to be a fully general show about people living in society, is actually about nothing (Seinfeld is of course the nihilistic embrace of this dynamic). This is what the concept of “escapist entertainment” properly refers to: the situation in which the thing you are experiencing has fundamentally no connection to the rest of the world.

So back to that TV show we were talking about, there’s a scene where Dev causes Rachel to miss an important flight because he wants to take a side trip and Waze assures him that he’ll be able to make it in time. The intrusive name-dropping here implies strongly that this sort of behavior is a “Millennial” thing; kids these days are impatient and reckless and they just rely on their phones to tell them what to do, blah blah blah. But none of that has anything to do with what actually happens here. Anyone could have made that same decision with or without Waze (P.S. Waze sucks). Furthermore, Dev knows that making that flight is important to Rachel, she explained it to him and they planned their itinerary around it, so even before he takes out his phone, he’s already being an asshole. Glossing this scene over with a kids-these-days veneer obscures the fact that the one and only issue here is that Dev is a notably selfish and thoughtless person. As a result, this issue is never addressed, despite it being a constant theme throughout the season. Everything that happens is treated as just “how things are these days,” when in fact much of it derives from Dev’s specific personality and is specifically his fault.

A contrasting example makes this even clearer. One of the events leading up to the climax is Dev getting fucked out of a movie role that he invested a lot of time and emotional energy into. This is a genuine fucking-over, his own actions had nothing to do with it, and it is correctly portrayed as a consequence of a garbage-producing society that doesn’t care about people and a necessary hazard of precarious employment. In other words, it is a completely different type of thing than Dev’s other problems, but they’re all lumped together in a general “life sucks” fashion. And this is why that generalization is an overgeneralization: because these are different problems, different things can be done about each of them. Some things really are your fault specifically, such that the solution really is for you to quit being such an asshole. Some things are interpersonal problems that aren’t necessarily anyone’s fault, but have to be worked out anyway through compassion and sacrifice. Some things are social problems that can only be addressed through political action. And then there’s the pitiless march of time itself, which is genuinely implacable and can only be accepted.

So the specific failure of Master of None is that it doesn’t climb a mountain. It gazes thoughtfully at various outcroppings, but it never puts its hands on any of them. And it is precisely this that becomes the show’s final conclusion. When Dev’s life appears to be going nowhere, his father advises him that potential by itself is worthless: it doesn’t matter what you can do unless you actually do something. It’s comforting to keep all of your options open, to imagine that they’re all real possibilities, to stay in the pleasingly abstract realm of generalization, but there are in the final analysis two options only: you either put pen to paper and commit a permanent, indelible mark, or you continue to stare at a blank page.

It should be noted that the idea of “committing” here is to be understood broadly; deciding to commit to one or more half-measures is (or at least can be) entirely reasonable. You can decide to use a particular talent of yours to pay the bills while you focus on other things, or you can choose to let’s say learn an instrument just for the experience, without imagining that you’re ever going to get good at it. Assuming that you have to go “all the way” with something or it doesn’t “count” is its own form of constriction – it privileges the idea of achieving something over the actual experience of doing it. And this is exactly the problem that Dev ends up having: he can’t be satisfied with anything unless it’s “at 100%”. What finally precipitates Rachel and Dev’s relationship crisis is Dev’s insistence that they each estimate the “probability” that their relationship will work out. The joke is supposed to be that this is the worst possible idea, but the numbers they come up with are 80% and 70%, which are extremely high. Having a minimum 70% assurance that something is going to work out should in no way be disappointing; it’s actually unrealistically optimistic. So what we understand here is that Dev is not actually after the goal of having a good relationship; what he is after is the 100% assurance itself. And this makes no sense, because a 100% assurance means nothing except in terms of what it is an assurance of. He thinks that being completely certain about his relationship would make it meaningful, but it’s the other way around: finding meaning in his relationship would make him certain that it was worthwhile.

This is, of course, meant to be a critique of “Millennials” and how they “want everything” and they can’t just “settle down” and be “responsible.” But, as we’ve discussed, this framing is not justified, because, to the extent that this sort of behavior exists at all, what it is is not a generational trend, but a cohort effect. And the specific cohort in question is one whose cohortness is based on privilege. It is not “Millennials” who are capable of and desire such things; it is specifically young people who a) can afford to, b) have no other responsibilities, and c) have no principles or convictions guiding their choices of action. In fact, there’s even a cohort that exists in direct opposition to this framework. One of the big trends in “new media” companies right now is unionization. This means that there is a cohort of modern young people who: want stable jobs, are politically engaged (in practical rather than symbolic terms), learn from history, and have chosen ground on which to stand and fight. This is the exact opposite of everything that thinkpiece writers imagine that “Millennials” are about. And these people also do not represent their “generation.” They are another, separate cohort.

I mean, you get that I’m annoyed as hell about all of this, right? Motherfuckers are constantly writing dumbass articles about “Millennials,” thinking they’re being all insightful, when what they’re actually producing is actual garbage on the level of third-rate fanfiction. And the people who try to argue against this are just as bad, because they make the same assumption, that there is such a creature as a “Millennial” and it has the same traits X, Y, and Z, they just argue that these are actually good things. The very basic and very obvious fact of the matter is that this whole framework is empty charlatanry and the only remotely reasonable thing to do is to fucking stop it.

So, uh, anyway, the show contrasts Dev’s situation with that of an older married coworker, Benjamin,6 who admits that there are plenty of days when his own relationship is barely at 20%. The reason this works for him is that he has chosen his relationship, so, as long as it’s still something, he has something. Dev, by contrast, has never made any such choice, so regardless of whether or not each specific thing in his life works out for him, he ultimately has nothing.

So what finally happens is that Dev makes a choice. The show misdirects us into thinking that Dev’s final decision is to pursue Rachel, priming us to expect the standard love-conquers-all ending. By subverting this possibility, the show frames Dev’s flight of fancy as the new thing that kids these days are now doing in lieu of pursing “traditional” goals. Rachel makes the same decision, but we have no idea why, because, again, Rachel has no personality. So rather than this action emerging from who these people are, it is imposed on them by the demands of the show’s intended messaging. Rather than Dev figuring out something he wants to commit to, he picks something to want on the basis of his ability to commit to it. In other words, the reason Dev chooses to fuck off to another country is that it is the easiest thing he can possibly do. It doesn’t require him to address any of his real problems; on the contrary, it is the one thing that allows him to avoid them completely. (It’s also a particularly American form of egoism to assume that the world is basically just a shopping mall of cultures for you to choose from.)

But while the season ends in the air, the show is grounded enough to allow us to put the pieces together. There’s one relatively subtle clue that provides unexpected illumination: Dev is a terrible actor. Like, totally atrocious. This makes sense, because he’s just a moderately attractive guy who got into acting entirely on accident, but this is never brought up in the show. In fact, Dev is fairly successful, as far as being a working actor in New York goes: he’s praised by casting directors and coworkers, and he almost lands a leading role in a new sitcom. I don’t think this is a mistake; on the contrary, Ansari seems to be intentionally bad-acting, and he does a pretty good job of portraying Dev’s acting as coming from someone making an earnest attempt at it while fundamentally not understanding the concept (a D-list Tom Cruise, basically). The situation, then, is that Dev is completely adrift and clueless, and so is everyone else, including the people who are actually presenting themselves as experts and professionals. Deskilling is more than just an economic problem. It makes people feel helpless, like there’s nothing they can actually do other than slot in to a socially-defined role. It naturally results in a desperate yearning for things like “adventure” or “true love” or, indeed, “meaning” itself – things that really do exist, but not as generalities: as particular experiences. Meaning is not something that is given to you by your surroundings, it’s something within you that you give to the world. But this isn’t just a matter of being “sincere” or “passionate” or “chasing your dreams” or whatever, it’s a matter of engaging with reality, going through facticity to get to a new place – a different physical situation. A society that doesn’t allow for this possibility robs people of their specificity, which, given that specificity is the only thing that makes a person exist as a person rather than an empty abstraction, is the one true crime.

Dev is just some guy; he isn’t fighting any kind of moral crusade, and he shouldn’t have to be. The world ought to work for people like him, people who are just doing what they can and aren’t after anything extraordinary. But it doesn’t. So, actually, Master of None‘s general glibness conceals a profound criticism: the world is fundamentally wrong. And this isn’t like Kafka or anything; remember, what’s characteristic about this show is that it portrays everything about young people these days in the most conventional New York Times-friendly manner possible. So if even that portrayal, the least incisive way of understanding the situation, is still fundamentally broken and riddled with contradictions, then the truth can only be far, far worse. The issue isn’t that we’ve got problems, it’s that we’ve got nothing.

So when Dev finally does make a decision about what he wants to do with his life, he doesn’t have anything to hold on to. He considers all the things he’s been doing so far, and concludes that none of them are any good, so his only option is to just completely fuck off and start over in another country. If we take this seriously as criticism, it’s rather unsettling: it suggests that our society is so fucked up that, when one seriously considers how to deal with it, the only possible answer is abdication. The only intellectually and morally honest course of action is to wash one’s hands of everything.

But you’ll note that this is only the case if we ignore Benjamin’s advice. That is, if the fundamentally broken nature of our world causes us to despair, this can only be because we are expecting perfection, and we come to realize that it is impossible. But if we look at things from that other side, we can ask a much more pertinent question: so what? Why should a lack of magic be considered a defect in reality? Why should the fact that things generally don’t work out prevent us from taking them as far as they’ll go? There are plenty of things that are going to slow us down, but until one of them stops us, we’re still moving. Since we can’t get to “100%” anyway, since the concept doesn’t even make sense, a lack of certainty should appropriately have no effect on us whatsoever. There’s no use mourning the death of a god that never existed in the first place. The antidote to meaninglessness is not requiring yourself to be at 100%, it’s accepting yourself at 1%. Rather than everything, anything.

It is of course precisely this criterion that Master of None actually does meet. It’s above 20% when it’s good and below 20% when it’s bad, but either way, it eclipses the Friendses of the world in the one way that matters: it’s not nothing.


  1. Guilty. 
  2. I’m clear of this danger for the foreseeable future. 
  3. I’d like to clarify that I don’t endorse this use of this word. Problematizing is a good thing. 
  4. The couples stuff is in fact completely insufferable. There’s one bit where Dev and Rachel are quirkily bantering in public and some guy gets really mad at how cute they’re being; it’s pretty funny, except that I don’t think that guy was intended to function as a audience stand-in. 
  5. So hey did you notice that the concept of a “genre” is also an overgeneralization, in that it lumps together a bunch of things that don’t necessarily have anything to do with each other, and that anyone making blanket statements about what a genre “means” or whether it’s “dead” or not is therefore necessarily full of shit? Just checking. 
  6. H. Jon Benjamin, in fact – as a Home Movies fan, I find his role here as the voice of reason deeply unsettling.