With a very few exceptions — mostly the “Belt Buckle” episode of Mystery Show — I’ve come to realise that I have a fundamental problem with this subgenre that goes far beyond one Reply All episode. It’s this: who gets to go on an inconsequential quest? Podcasting is already a far from level playing field, and even within that this prestigious little niche of it is closed off to almost everybody. It frustrates me that so many of these shows come from the perspective of well-off white American men, but I understand why that is. The resources required to make a really high quality show of this kind make independent production very difficult. You might have to work for six months on an idea only to find that there isn’t really a satisfying answer, so it’s risky. Most networks or funders are unlikely to take a financial risk on a quest creator unless they have a demonstrable track record, are a celebrity, or are celebrity adjacent in some way. Then unless you can afford to do almost all of the work beforehand — typically unpaid, or expending crucial resources — the pitch for an inconsequential quest series is always going to be “I don’t know the answer yet but just trust me!” And we all know where companies are more likely to bestow that trust: executives tend to be disproportionately white, straight and male, and that’s the kind of talent that too often gets to take risks with big budgets. Celebrity access, by the way, has proved to be somewhat important to the inconsequential quest genre. I think part of why people responded to “The Case of the Missing Hit” like they did was the sheer audacity of PJ Vogt calling up the former Barenaked Ladies frontman Steven Page and just… asking him if he knew what the mystery song was. See also: Moby’s involvement in the Gregor episode, and Starlee Kine getting Jake Gyllenhaal to confirm his real height. The contrast between all that mundane legwork and the glamour of a real famous person is exciting in a semi-salacious way. When I listen to “The Case of the Missing Hit”, then, or many of the other examples I’ve cited here, I’m constantly reminded of who isn’t getting to make this stuff. Who doesn’t have the chance to throw time and money at a weird little problem and see what sticks. Which is arguably a reaction that could apply to pretty much any audio genre, but because these quests are personal and idiosyncratic and usually rely heavily on the creator’s existing personal relationships, I think I notice it more readily. For me, the best inconsequential quests turn out not to be inconsequential at all. What starts out as an attempt to give a belt buckle back or find some lost CDs turns out to be a process that can teach us something about our flaws, our blind spots and our inner assumptions. But to find those stories, you have to spend a long time looking. And not everybody has that luxury.

Language is not the be all end all. This isn't about policing language or censoring words, but about critically examining how language is part of total ableist hegemony. This is about being accountable when we learn about linguistic ableism, but it is also about being compassionate to ourselves and recognizing that to varying extents, we have all participated in ablesupremacy and ablenormativity. This is about understanding the connections between linguistic ableism and other forms of ableism, such as medical ableism, scientific ableism, legal ableism, and cultural ableism. [...] If you find yourself using this ableist language, please take a minute to re-examine how your perspective has been informed by ableism. This isn't an accusation or an insinuation that you are automatically an Evil Person. We have all participated in ableist structures, and are all continually learning and unlearning. But if you are truly committed to building more just and inclusive communities, then it is critical to unlearn how we have been conditioned into accepting ableism in all parts of our lives and societies, including in our language.

A short story about privilege.

Working towards solutions requires that, as male gamers, we become aware of the ways in which we unconsciously benefit from sexism. We can't work to fix something unless we first see and understand its effects. When women as a group are systematically targeted by discrimination, it means that men are elevated by default.

When I think about the difficulty I’m having listening to Wolf, I remind myself that there are dozens, hundreds of albums that inflict similar psychic pain on people because of their race or gender or experience that I’d never notice on my first or tenth listen. Everyone’s flashpoints are different, whether they’re homophobic slurs or racial epithets or sweeping, harmful generalizations about a genre or culture or all three. As a critic and person, confronting such a flashpoint is an eye-opening, educative experience, and for that I suppose I’m thankful for Wolf, even if I might never actually hear the album.