Sean P Carlin

Writer of things that go bump in the night

Tag: The New York Times

Oh, Snap! The Nostalgia-Industrial Complex — ’90s Edition

July 29, 2019 / / 13 Comments

Et tu, Millennials?  The old nostalgia-industrial complex got its hooks into you, too, huh?  I must ask:  Have you not witnessed in firsthand horror what pining for the good old days has done to Generation X…?

To recap:  We Xers have thus far spent the twenty-first century reliving all our childhood favorites—Star Wars, Super Friends, Karate Kid, Ghostbusters, Lethal Weapon, Halloween, Bill & Ted, Tron, Transformers, Terminator, Top Gun—a pathological exercise in self-infantilization that has catastrophically retarded both the culture as well as a generation of middle-aged adults who are at this point more passionately invested in Skywalkers and superheroes than are the juvenile audiences for whom those characters were originally intended.

Always keen to recognize—and replicate—a winning formula, a new permutation of forward-thinking backward-gazing has recently seized Hollywood:  Sell nineties-era nostalgia to the generation that came of age in that decade!  Over the past few years, we got a pair of Jurassic Park remakes-masquerading-as-sequels that didn’t inspire a single word of enthusiasm (certainly not a second viewing), but nonetheless earned over a billion dollars apiece, while our last conventional movie star, Dwayne Johnson, used his considerable clout (or more aptly muscle?) to resurrect both Jumanji and Baywatch.  As for this year?  Hope you’re excited for warmed-over helpings of The Lion King, Men in Black, Toy Story, Aladdin, and yet more Jumanji.  And while we’re at it, let’s welcome back slacker duo Jay and Silent Bob, because surely their grunge-era stoner humor still holds up in middle-age—

Our sentiments exactly, fellas…

—as well as Will Smith and Martin Lawrence, back from buddy-cop purgatory for more Bad Boys badassery!  You know damn well whatcha gonna do when they come for you:  Buy a ticket!

For an indeterminate, but clearly not immeasurable, swath of moviegoers, there is no marketing campaign more alluring than one that taps into foggy childhood memories. . . .

. . . The great nostalgia-industrial complex will [continue] steamrollering us against our better judgment into multiplexes, hoping for a simulacrum of the first high we felt watching great characters years ago.

Tom Philip, “Summer ’19 Brought To You By Nostalgia-Bait Movies,” Opinion, New York Times, July 4, 2019

Not just multiplexes.  (And how are those even still a thing?)  On the small screen, VH1 revived game-changing nineties slasher franchise Scream this summer (how, for that matter, is VH1 still a thing?), and new iterations of decade-defining teen melodramas 90210 and Party of Five are on the way.  Dope.

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All That You Can’t Leave Behind: On Memories, Memorabilia, and Minimalism

April 30, 2019 / / 22 Comments

A lifelong packrat, here’s the story of my unlikely conversion to minimalism.

Concert tickets.  Refrigerator magnets.  Christmas ornaments.  Comic books.  Trading cards.  Greeting cards.  Bobbleheads.  Bank statements.  Photo albums.  Vinyl records.  Shoes.  Shot glasses.  Jewelry.  Blu-rays.

What does the stuff we collect, consciously or unconsciously, contribute to the story of our lives?

And… what does it mean for us when there’s less of it?

Photo credit: Ticketmaster blog, June 26, 2015

In an opinion piece that appeared in the New York Times earlier this month, columnist Peter Funt laments the obsolescence of analog mementoes in a Digital Age:

And so ticket stubs join theater playbills, picture postcards, handwritten letters and framed photos as fading forms of preserving our memories.  It raises the question, Is our view of the past, of our own personal history, somehow different without hard copies?

Peter Funt, “Does Anyone Collect Old Emails?,” Opinion, New York Times, April 5, 2019

In recent years, I’ve expanded this blog from its initial scope, an exclusively academic forum on storytelling craft, to chronicle my own personal history, often in no particular order.  I am ever and always in search of a clearer, more complete, more honest perspective on my past, and how it has shaped the narrative arc of my life; I mine my memories regularly for content, and for truth.

I have also routinely expressed apprehension about the practices we’ve lost in a Digital Age, the kind to which Mr. Funt refers, particularly as that applies to the corrupted discipline of storytelling itself:  From the superhero crossovers of the “Arrowverse,” to the literary Easter-egg hunt of Castle Rock, to the expansive franchising of Star Wars, today’s popular entertainments are less concerned with saying something meaningful about the human condition than they are with challenging the viewer to catch all their internal cross-references.  Whereas stories once rewarded audiences with insight, now the reward is the esteemed privilege of calling oneself a superfan—a participatory designation earned by following all the breadcrumbs and connecting all the dots… an assignment only achievable if one never misses a new installment:

In a nod to the subscription model of consumption—where we lease cars or pay monthly to a music service—the extended narratives of prestige TV series spread out their climaxes over several years rather than building to a single, motion picture explosion at the end.  But this means energizing the audience and online fan base with puzzles and “spoilers”. . . .

. . . The superfan of commercial entertainment gets rewarded for going to all the associated websites and fan forums, and reading all the official novels.  Superfans know all the answers because they have purchased all the products in the franchise.  Like one of those card games where you keep buying new, expensive packs in order to assemble a powerful team of monsters, all it takes to master a TV show is work and money.

Douglas Rushkoff, Team Human (New York:  W. W. Norton & Company, 2019), 163

Fanboys and -girls thought they were legitimized when the geek subculture went mainstream—when superheroes and sci-fi went from niche hobby to pop-cultural monopoly—but they were really just commodified:  “geek” shifted from a stigmatized social category to a lucrative economic one.  Leveraging our telecommunications-induced FOMO, a new permutation of commercial narrative was contrived:  the “mega-franchise,” which seeks not our intermittent audience, but rather our habitual obedience.  Sure, you may not have even liked the last four Star Wars or Terminator or Transformers movies… but do you really wanna run the risk of skipping this one?

More is more: Every “Star Wars” character has its own backstory and action figure—collect them all!

So, given those two ongoing preoccupations—personal history and receding traditions in the Digital Age—the thesis of “Does Anyone Collect Old Emails?” would’ve spoken to me regardless, but the timing of it was nonetheless uncanny, as I have devoted no small degree of consideration in recent months to the matter of the physical objects we amass, wittingly or otherwise, and how they tether us to the past.  Here’s the story.

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Well, There’s Bad News and Good News: On Matters of Human Extinction

January 29, 2019 / / 10 Comments

In a piece that appeared in last month’s New York Times online philosophy blog—plainly titled “Would Human Extinction Be a Tragedy?”—Todd May explores the existential question of whether the inherent and singular value human beings possess as an intelligent species, through our scientific and intellectual and creative pursuits, is worth the immense anguish our practices inflict on the nonhuman animals with which we share this planet:

“To make that case, let me start with a claim that I think will be at once depressing and, upon reflection, uncontroversial.  Human beings are destroying large parts of the inhabitable earth and causing unimaginable suffering to many of the animals that inhabit it.  This is happening through at least three means.  First, human contribution to climate change is devastating ecosystems, as the recent article on Yellowstone Park in The Times exemplifies.  Second, increasing human population is encroaching on ecosystems that would otherwise be intact.  Third, factory farming fosters the creation of millions upon millions of animals for whom it offers nothing but suffering and misery before slaughtering them in often barbaric ways.  There is no reason to think that those practices are going to diminish any time soon.  Quite the opposite. . . .

. . . But there is more to the story.  Human beings bring things to the planet that other animals cannot.  For example, we bring an advanced level of reason that can experience wonder at the world in a way that is foreign to most if not all other animals.  We create art of various kinds:  literature, music and painting among them.  We engage in sciences that seek to understand the universe and our place in it. . . .

. . . We appreciate and often participate in such practices because we believe they are good to be involved in, because we find them to be worthwhile.  It is the goodness of the practices and the experiences that draw us.  Therefore, it would be a loss to the world if those practices and experiences ceased to exist.”

Todd May, “Would Human Extinction Be a Tragedy?,” The Stone, New York Times, December 17, 2018

On the abstraction of extinction, I take something of a prostrative view:  It seems to me the natural world has a way of deciding for itself who ought to be here and when it’s time for them to go; at some point, after all, it concluded the dinosaurs had overstayed their welcome, and with the brute efficiency of an asteroid strike, put them on a path to annihilation.  There’s something perversely liberating—and by extension even comforting—about the question of our own existence being out of our control.

Credit and © sdecoret – Fotolia

But… that’s not what’s happening here at the dawn of the Anthropocene, is it?  It’s the very practices we engage in—our project of civilization itself—that has brought on the existential crises we now confront.  Since this blog often examines its subjects narratively, this citation seems apt:

“In many dramatic tragedies, the suffering of the protagonist is brought about through his or her own actions.  It is Oedipus’s killing of his father that starts the train of events that leads to his tragic realization; and it is Lear’s highhandedness toward his daughter Cordelia that leads to his demise.  It may also turn out that it is through our own actions that we human beings bring about our extinction, or at least something near it, contributing through our practices to our own tragic end.”

ibid.

Climate change—at least this epochal instance of it—is the (admittedly unintended) consequence of our own Industrial Age–conditioned behaviors, rather than that of some naturally occurring planetary phenomenon.  Far from a cyclical geological inevitability, like, say, an ice age, we’re doing this to ourselves, outside the governing purview—or otherwise unimpeded design—of nature.

Or are we?

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