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“While we’re discussing the issues that I want to discuss, I also know that I have a responsibility to the audience to tell a story. The goal is not to change the world; the goal of this is to make a high-quality, entertaining show that has good-quality acting.” On that front, Season 2 has certainly succeeded

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.

poptimism has intertwined with a variety of cultural omnivorism that encourages people to embrace the most popular fare from all genres. And this is where the algorithm comes in: it feeds people a steady drip of the most popular things and assures you you’re good for enjoying a diverse array of sameness.

But, and this is important, taste distinctions still matter. Social rank demands fealty to certain ideals of taste, even if artistry isn’t the taste that matters. “Omnivorism, for all of its rejections of ‘taste,’ still presupposes that cultural choice can change society,” Marx writes. “Consumerism can support allies, shame enemies, and deny prestige and financial support to oppressors.”

In the modern cultural landscape, “the hipster” has been replaced by what might be called “der kommisar,” and der kommisar has a few general rules for how to appreciate culture:

1.     Artists should create content that promotes progressive political views and reveals unconscious biases against oppressed groups.2.  Gatekeepers should work to represent minority voices by elevating minority artists.3.     Consumers should only buy artworks and goods with progressive values that are created by upright individuals.4.     Majority groups should never profit on styles or stories that originate within minority groups.5.     Critics should decanonize antiprogressive artists and their works, and question aesthetics associated with high-status distinction.*

“art should avoid being for art’s sake when social equity is at stake.” The quality of artistry matters less than supporting artists who think the right things and say the right things

I don’t think you can really understand much of the last decade or so of cultural writing—or, for that matter, cultural production—if you don’t understand this dynamic and how poptimism, omnivorism, and identity politics have all spun together to change, at the very least, how people talk publicly about the art they consume