Beyoncé in Nine Images: A Close Read
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Race isn't a social construct. It's an ad campaign
Why Black Americans Are Not Nostalgic for Route 66 - The Atlantic
"PEN15" Has The Most Painfully Authentic Gay Teen Storyline I’ve Ever Seen On TV
Interview: Demi Adejuyigbe’s ‘September 21’ Videos
The White Issue: Has Anna Wintour’s Diversity Push Come Too Late? - The New York Times
Princess Diana Panorama Interview
How a young, queer Asian-American businesswoman is rethinking user safety at Twitter - Protocol
An Oral History of Fashion’s Response to the AIDS Epidemic | Vogue
How the Police Killed Breonna Taylor - The New York Times
Why Do Asian Americans Love New Wave Music So Much?
Why The Republican Party Isn’t Rebranding After 2020 | FiveThirtyEight
The Real Reason Young Adults Seem Slow to ‘Grow Up’ - The Atlantic
Opinion | Tom Hanks: The Tulsa Race Massacre Is Every American's History - The New York Times
'Canada, you need to learn the truth': An open letter from AFN Yukon Regional Chief Kluane Adamek | CBC News
What AppleTV+'s 'Physical' Gets Right About Eating Disorders, According To Experts
Jack Thorne MacTaggart Lecture: “TV Has Failed Disabled People” – Deadline
Angelina Jolie: ‘I just want my family to heal’ | Angelina Jolie | The Guardian
Hong Kong Legend Tony Leung Tries His Hand at Hollywood | GQ
On the Internet, We’re Always Famous - The New Yorker
I’ve come to believe that, in the Internet age, the psychologically destabilizing experience of fame is coming for everyone. Everyone is losing their minds online because the combination of mass fame and mass surveillance increasingly channels our most basic impulses—toward loving and being loved, caring for and being cared for, getting the people we know to laugh at our jokes—into the project of impressing strangers, a project that cannot, by definition, sate our desires but feels close enough to real human connection that we cannot but pursue it in ever more compulsive ways.
It seems distant now, but once upon a time the Internet was going to save us from the menace of TV. Since the late fifties, TV has had a special role, both as the country’s dominant medium, in audience and influence, and as a bête noire for a certain strain of American intellectuals, who view it as the root of all evil. In “Amusing Ourselves to Death,” from 1985, Neil Postman argues that, for its first hundred and fifty years, the U.S. was a culture of readers and writers, and that the print medium—in the form of pamphlets, broadsheets, newspapers, and written speeches and sermons—structured not only public discourse but also modes of thought and the institutions of democracy itself. According to Postman, TV destroyed all that, replacing our written culture with a culture of images that was, in a very literal sense, meaningless. “Americans no longer talk to each other, they entertain each other,” he writes. “They do not exchange ideas; they exchange images. They do not argue with propositions; they argue with good looks, celebrities and commercials.”
“Queer” as in… what, exactly? | The Outline
The BuzzFeedification of Mental Health - by P.E. Moskowitz
Activision CEO Bobby Kotick Knew for Years About Sexual-Misconduct Allegations at Videogame Giant - WSJ
A Welcome Unfreedom | The New Yorker
It's happening.
How Humans of New York Became a One-Man Philanthropy Machine
Words are polluted. Plots are polluted.
I care about people more than I care about positions or beliefs, which I tend to consider a subservient class of psychological phenomena. That is to say: I think people wear beliefs like clothes; they wear what they have grown to consider sensible or attractive; they wear what they feel flatters them; they wear what keeps them dry and warm in inclement winter. They believe their opinions, tastes, philosophies are who they are, but they are mistaken. (Aging is largely learning what one is not, it seems to me).
Criticism must serve some function to justify the pain it causes: it must, say, avert a disastrous course of action being deliberated by a group, or help thwart the rise of a barbarous politician. But this rarely occurs. Most criticism, even of the most erudite sort, is, as we all know, wasted breath: preached to one’s own choir, comically or indignantly cruel to those one doesn’t respect, unlikely to change the behavior of anyone not already in agreement.On the other hand! There persists the idea that culture arises out of the scrum of colliding perspectives, and that it is therefore a moral duty to remonstrate against stupidity, performative emoting, deceitful art, destructively banal fiction, and so on. If one doesn’t speak up, one cannot lament the triumph of moral and imaginative vacuity.
One must believe, of course, that there are abstractions worth protecting, and therefore abstractions worth hurting others for, in order to criticize; and the endless repetitiveness of cultural history seems to devalue such abstractions as surely as bad art and cliche devalue words.
His PTSD, and My Struggle to Live With It
‘Decision to Leave’ Cannes Win Is Vindication for Korean Culture, a Group of Friends and the Corporation That Backed Them Over Two Decades
New York's hipster wars