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It is increasingly common to find yourself apologizing not for watching too much TV but for having failed to spend 70 hours of your precious, finite life binge-watching one of the Golden Age of Television’s finest offerings.

Nussbaum writes of her male classmates at NYU, where she was a literature doctoral student in the late 1990s. These men worshiped literature and film; they thought TV was trash. These men “were also, not coincidentally, the ones whose opinions tended to dominate mainstream media conversation.”

the same forces that marginalize the already-marginalized still work to keep TV shows by and about women, people of color, and LGBTQ+ individuals on a lower tier than those about cis, straight, white men: Your Tony Sopranos, your Walter Whites, your Don Drapers, your True Detectives

Over and over, Nussbaum pushes back against a hierarchy that rewards dramas centered on men and hyperbolically masculine pursuits (dealing drugs, being a cop, committing murders, having sex with beautiful women) and shoves comedies and whatever scans as “female” to the side.

Nussbaum sticks up for soaps, rom-coms, romance novels and reality television, “the genres that get dismissed as fluff, which is how our culture regards art that makes women’s lives look like fun.

Nussbaum’s writing consistently comes back to the question of “whose stories carried weight . . . what kind of creativity counted as ambitious, and who . . . deserved attention . . . Whose story counted as universal?

What does it mean to think morally about the art we consume — and, by extension, financially support, and center in our emotional and imaginative lives? The art that informs, on some near-cellular level, who we want to know and love and be?

maybe the next frontier of cultural thought is in thinking more cohesively about what we’ve long compartmentalized — of not stashing conflicting feelings about good art by bad men in some dark corner of our minds, but in holding our discomfort and contradictions up to the light, for a clearer view.

Adams did not just stick to comics: he is the author of over a dozen books (not counting the comic compendiums), which advise and analyze not only on surviving the office but also on daily life, future technology trends, romance, self-help strategy, and more. 

In his earlier books, you can feel the weight of the 1990s pressing down on his work, flattening and numbing its potency; this was the period that social scientist Francis Fukuyama dubbed “the end of history”, when the Cold War had ended, the West had won, 9/11 was just two numbers, and there were no grand missions left, no worlds left to conquer. While for millions of people, both in the United States and abroad, life was still chaotic and miserable, a lot of people found themselves living lives that were under no great immediate threat: without bombs or fascism or the threat of eviction to worry about, there was nothing left to do but to go to the office and enjoy fast-casual dining and Big Gulps, just as the Founding Fathers envisioned.

This dull but steady life produced a sense of slow-burn anxiety prominent in much of the pop culture of the time, as can be seen in movies such as Office Space, Fight Club and The Matrix, movies which cooed to their audience: there’s got to be more to life than this, right?

In Dilbert the Pointy-haired Boss uses this type of thinking to evil ends, in the tradition of Catch-22 and other satires of systemic brutality, but the relatable characters use it to their advantage too—by using intellectual sleight of hand with the boss to justify doing less work, or by finding clever ways to look busy when they’re not, or to avoid people who are unpleasant to be around.

for someone who satirizes business bullshit, Adams is a person who seems to have bought into much of it wholeheartedly; when he explains his approach to life he tends to speak in LinkedIn truisms, expounding on his “skill stacks” and “maximizing [his] personal energy”. (You can read more about this in his career advice book, How to Fail at Almost Everything and Still Win Big;

Following his non-Dilbert career more carefully, you can see that at every stage of his career, he’s actually quite heavily invested in the bullshit he makes fun of every day, or at least some aspects of it: he possesses an MBA from UC Berkeley, and has launched or otherwise been involved in a significant number of business ventures, most amusingly a health food wrap called the “Dilberito”.

In the past few years, Adams has gained some notoriety as a Trump supporter; having slowly moved from “vaguely all-over-the-place centrist who has some odd thoughts and thinks some aspects of Trump are impressive” to full-on MAGA guy, even writing a book called Win Bigly praising Trump’s abilities as a “master persuader”.

this is a guy who hates drab corporatespeak but loves the ideology behind it, a guy who describes the vast powerlessness of life but believes you can change it by writing some words on a napkin. That blend of rebellion against the symptoms of post-Cold War society and sworn allegiance to its machinations couldn’t lead anywhere else but to Trump, a man who rails against ‘elites’ while allowing them to run the country into the ground.

Beware: as I’m pretty sure Nietzsche said, when you gaze into Dilbert, eventually Dilbert gazes back into you.

I just think Adams is a guy who spent so long in the world of slick aphorisms and comic-strip logic that it eventually ate into his brain, became his entire manner of thinking